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Serenity: The Firefly Movie (spoilers within)

 
  

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miss wonderstarr
16:56 / 20.10.05
Sorry if it's taken me a while to reply.



I'm not sure why totally ridiculous skills in one type of combat don't suggest totally ridiculous skills in another type of combat.


I feel they were in a different league of ridiculous. But I will go on to expand.

The first is the second part of the pilot, when Simon is explaining basically that River is amazing at everything she does, including physical action (such as dancing, which isn't all that far from martial-arts ass-kickery).

OK... to me, a doting, indulgent brother's praise of River as "amazing" is far removed from me seeing her take down perhaps 100 Reavers.

Perhaps we're going to come up against this same distinction in my argument vs those who don't agree with me on this point (on a fan-board we'd be the River-basher and River-gushers or whatever -- the River defense squad vs the River attack force) ... I accept entirely that seeds were planted and hints were given, but I think there's an enormous leap between everything we're shown and told (with qualifications, eg. I wouldn't trust Simon's opinion of River as gospel) in the TV series, and what we're shown in the film.

You guys accept and embrace that leap, while I find it more problematic. You can call me stiffly literal, I could call you naively gullible. Nevertheless, I think we should try to just welcome this difference of opinion, as it doesn't really matter if I read it differently to you; maybe it just suggests interesting alternative angles.


Combine that with badass pistol skills (and those aren't lucky shots, so it's not akin at all to Luke blocking a couple shots from a remote) and you have a pretty convincing argument for River's rather remarkable ability to kick the crap out of people.

Here I disagree and would suggest you're misreading Star Wars, too.

Luke isn't blocking the remote by luck, that's the whole point. He is sensing and tapping into his own potential with the Force. He's showing his uncanny abilities. He blocks three blasts from the remote in a row, I think, with the visor of a helmet blinding him, so that's almost exactly equivalent to what River does.

But what River does to the Reavers in the movie is almost exactly equivalent to what Anakin Skywalker does to the Sand People in Attack of the Clones -- takes down a whole tribe of vicious savages alone.

The difference between River-TV and River-movie is the difference between Luke Skywalker, a totally-untrained novice with potential, and Anakin Skywalker, who has spent maybe 15 years training under Yoda and Obi-Wan Kenobi and is at the top of his game.

Kovacs. To be fair the series got axed half-way through the first season so it's not really correct to say that River "gun-fu" abilities hadn't been properly developed as a narative in the tv show. We don't know what the rest of the season would have shown us do we?

The episodes that did get made were building up River as a programmed assassin. Little things like her zen shooting in War Stories indicated what they might have been doing to her. But getting cancelled before you've even got going has a knack of knocking the narrative out from under you.


I find this and the rest of your post a totally acceptable explanation, actually.

However, I didn't realise the main action of the film takes place 8 months on from the Jubel episode. If that's so, it begs further questions for me, like why Mal is still talking about Simon and River as if they're semi-stowaways, rather than entirely valid members of the crew... he's still treating them like he did in the pilot, as unwelcome guests.



Ya see, that just comes off as such a stiff reading. It's the danger of the character you're supposed to respond to, her ability to do things which can't be easily explained, things that hurt. Before this point we've established that she's psychic, we've established that she was the product of a secret, sinister government project, a product that's being hunted by some very nasty, very dangerous fellas with blue hands - the kind of fellas that hunt very dangerous prey.

I don't mean this to sound like a dig, but, imo, River's badassness is only a leap if you're a complete literalist and lack any intuitive feel for where the story's probably going.

Or maybe I've been a Whedon fan for too long and have merged with his mind.


Like I said above, swings and roundabouts... maybe I'm too literal, maybe you're giving it too much benefit of the doubt because of your fan investment. That's all good.

But note that you do have to explain it in terms of "where the story's probably going". Maybe again this is the gap I wasn't filling in... I wasn't assuming that the movie takes place months after everything I saw in the series. I wasn't giving the narrative that long gap to make up what I saw as the discrepancy between River-TV and River-movie.

If it's the case that 8 months has passed, then OK it's more plausible.

I maintain that River's role in the TV series and in the movie seem quite different. She seems a far more major character in the latter, which may be related to Inara and Book getting relegated and the soap-ensemble format being broken up a little in favour of the focus on Mal and River.
 
 
Spaniel
18:07 / 20.10.05
I maintain that River's role in the TV series and in the movie seem quite different. She seems a far more major character in the latter

I don't disagree, I just don't think the two Rivers are incompatible, and I think one strongly hints at the other.

Um, I'm really not sure why you think there would need to be a considerable gap between the series and the movie to make sense of the transition between TV River and Movie River. By "where the story's probably going" I didn't mean unseen/off-screen plot points or character development, I meant the resolution of her storyline (as set up in the series and seen in the movie).

Or am I misunderstanding you?
 
 
Spaniel
18:14 / 20.10.05
Also, on the "naively gullible" thing... er, no... I didn't buy it hook, line and sinker because I'm a slobbering fanboy, I bought it because that's what I'd been expecting based on what I'd seen in series. I am aware, however, that I am very familiar with Whedon's enthusiasms, and am prepared to admit that perhaps the transition between TV River and Movie River was less of shock because I instinctively had a feel for where he was taking the character.
 
 
Spaniel
18:22 / 20.10.05
The difference between River-TV and River-movie is the difference between Luke Skywalker, a totally-untrained novice with potential, and Anakin Skywalker, who has spent maybe 15 years training under Yoda and Obi-Wan Kenobi and is at the top of his game.

So it's a leap, but a leap that's entirely consistent with the nature of the character. The transition has an internal logic. Anakin needed to train for 15 years, River, on the other hand, didn't need to train. By the time she shoots those guys in War Stories she's the whole ass-kicking package - we just don't know it yet.
 
 
miss wonderstarr
18:24 / 20.10.05
I don't disagree, I just don't think the two Rivers are incompatible, and I think one strongly hints at the other.


Sure, in that Anakin in Episode II hints at and contains all the elements that will become Vader in Episode III. However, if you'd watched a TV show where Anakin was a whiny, sulky, sometimes lovesick teen who was spoken about in terms of great potential power, and sometimes revealed flashes of that power -- and then saw a movie where he was on the cusp of becoming Darth Vader -- you might utter a bewildered "wtf" or two.

Even more so if you'd seen that movie, with the antihero hugely powerful, vindictive and driven by rage, and then watched the series where he was a fiery but also quite well-meaning and often obedient teenager.



Um, I'm really not sure why you think there would need to be a considerable gap between the series and the movie to make sense of the transition between TV River and Movie River. By "where the story's probably going" I didn't mean unseen/off-screen plot points or character development, I meant the resolution of her storyline (as set up in the series and seen in the movie).


I don't think those things are so different? By "the resolution of her storyline" you seem to imply something like "the natural character trajectory", "where Whedon clearly intended it to go", "where it would make sense for River to end up". I hope I'm not misrepresenting the type of idea you mean.

Those terms are kind of extra-textual, outside the story -- they're about (as I understand your meaning) what the author was clearly intending, and where we as intelligent viewers can guess he meant to take the character.

I agree with that, but in terms of the fictional world I was saying it would be an implausible leap if "War Stories" took place a few days before the film Serenity. Because it would seem that River's combat skills have jumped several leagues, that she is unleashing a power far beyond what we've already been shown.

However, maybe my comparison with Luke Skywalker doesn't work -- maybe it's the case that Luke has to be trained gradually, whereas River's blind 3-shots in "War Games" shows the total potential she already has at this stage.

By accepting the 8 month gap as "plausible", I was assuming that in those 8 months River had come to terms with her abilities, grown into them, strengthened and developed.

But maybe I'm wrong there, and the point of the story is that River has all those abilities right from the start, waiting to be triggered, which they finally are in the Serenity movie bar scene.

I still think those combat skills are way different from what we've seen her pull out of the hat before, but I accept that the idea of her as some kind of uncanny killing machine is foreshadowed. That she's able to take down 20 armed men and a tribe of the most vicious warriors in the Verse is not foreshadowed in my opinion, but then perhaps that is too literal.

People who came to the movie after watching the series, then: weren't you at all shocked by what River did in that bar scene? Or was it like, OK, we knew she had the ability, now we're finally seeing it?
 
 
miss wonderstarr
18:28 / 20.10.05
By the time she shoots those guys in War Stories she's the whole ass-kicking package - we just don't know it yet.

OK: that's what I finally came to terms with in that last post. In that case, fine. I don't know, maybe I'm just less immersed in Whedon's style and in the TV series than you and some others on here, but it didn't seem so naturally apparent to me as it did to you, obviously.

Note that I wasn't calling you a gullible fanboy -- I was pointing out that this would be the other side of the balance from "pedantic literalist", and that the extreme of either position could be easily criticised.


The way I see it is, I expressed an opinion and interpretation, and people who were more in tune with the mythos explained and to an extent corrected me... that's useful.
 
 
Spaniel
18:38 / 20.10.05
Cor, I forgot how much I enjoy debating the minutiae of my favourite pop culture artefacts.

Oh, and I understood what you were doing when you wrote "naively gullible", I just couldn't help responding. No offence was taken.
 
 
miss wonderstarr
18:40 / 20.10.05
No problem, I've enjoyed talking about it too.
 
 
doglikesparky
18:48 / 20.10.05
From the first moment in the tv series when it was hinted that River's abilities were more than average I always felt that she was massively dangerous and could be 'triggered' at any moment.The time she just stabs at Jayne in the mess hall was one of the first big clues for me and a perfect example of how I don't think she was ever really in control of herself.
Moments like the shooting seem to me to be glimpses of what she was programmed to do and afterwards she'd always return to normal (if that's an appropriate word) as if these episodes were somehow beyond her control, almost trance like.
I get the distinct impression that the 2 total ass-kickings she delivers in Serenity are very much the same and by the end of the film when she's in the co-pilot's seat she's back to herself again. I think her full potential hasn't yet been realised and Mal and the crew are knowingly taking a risk keeping her on board - most likely because she saved them and they're just loyal like that.
So it seems that although we've had an explanation as to her abilities, she's still not yet in control of them and any future films/series/whatever may well see her reset, as it were, to her earlier self in order that time can be given to focus on that aspect of her character development.
 
 
P. Horus Rhacoid
18:57 / 20.10.05
Combine that with badass pistol skills (and those aren't lucky shots, so it's not akin at all to Luke blocking a couple shots from a remote) and you have a pretty convincing argument for River's rather remarkable ability to kick the crap out of people.

Here I disagree and would suggest you're misreading Star Wars, too.

Not to retread old ground, but when I just reread what I said earlier, I winced and heard Han Solo's voice echoing in my head saying, "well, I call it luck." 'Lucky shots' was an extremely poor choice of words, and you're right that that's a misreading of Star Wars. What I was trying to get at is that there seems to be something fundamentally different between what River did and what Luke did, and I think Boboss put it into words pretty well. I just horribly mis-stated my point, and made myself look kinda dumb. Whoops.
 
 
miss wonderstarr
19:21 / 20.10.05
That's OK, I've more or less accepted I was "wrong", or misunderstanding something, in Firefly... and you can't be blamed if, as a Mal fan, you take Han Solo's perspective.
 
 
P. Horus Rhacoid
19:38 / 20.10.05
Kovacs- I'm not taking Han's perspective though, that's why I winced, because I realized what I sounded like. The 'switch' analogy sums up what I was trying, in my very clumsy way, to get at.
 
 
P. Horus Rhacoid
19:43 / 20.10.05
And by the way, I don't think you're necessarily 'wrong' for disagreeing with this, or for thinking that River's transition was abrupt. I'm enjoying reading this discussion, anyway.

Something I've just thought of: how do people think the trailers, which showed River going medieval in that bar, might have affected their acceptance of River doing that in the movie? What I mean is, because we all (mostly) knew it was coming, were we better prepared for it than might have been, say, a casual fan of the series who hadn't seen any trailers, and therefore more accepting of it, because we had time to get used to the idea?
 
 
Hieronymus
20:07 / 20.10.05
Hieronymus, I think you're projecting "Hollywood mucking about" where it isn't there.

Granted. And ultimately I have to admit that I'm nitpicking about a few things.

But my argument that Serenity doesn't stand on its own as a film remains. It was a great episode of Firefly. But as a movie, it was an utterly forgettable sci-fi romp.

Whedon has always been a character first, plot second kind of writer. And that's why it's bombing at the box office. Because you can't cram what the man's good at, drawn-out ensemble character exposition, into a 2 hour action flick without sacrificing some very important characters. You just can't. It requires a very, very slow boil. Something which the medium won't allow.

Prior to watching the DVDs, Book didn't mean a damn thing to me. As a character, much less as one bumped off towards the end. The death scene was comical actually because the film gave me no real connection to the character for his death to really mean anything. Inara? Some token princess type. Wash? Just the pilot that got wacked in the end. None of it meant anything until I saw the DVDs.

Serenity is primarily an episode of Firefly. And it's that fundamental disconnect with the movie-going audience that I think the film suffers from. You have to be in the loop to get the most out of the thing. And that's a bit of a rip-off for nine dollars a friggin ticket.
 
 
miss wonderstarr
20:45 / 20.10.05
But my argument that Serenity doesn't stand on its own as a film remains. It was a great episode of Firefly. But as a movie, it was an utterly forgettable sci-fi romp.


This doesn't tally at all with my experience of watching Serenity, which I detailed some pages back before I even encountered my first episode of Firefly. Granted, your opinion can't be argued with -- but I, and many reviewers in print, did feel it stood solidly on its own as a film. More than one person's saying it's the best space opera since 1977.



Whedon has always been a character first, plot second kind of writer. And that's why it's bombing at the box office. Because you can't cram what the man's good at, drawn-out ensemble character exposition, into a 2 hour action flick without sacrificing some very important characters. You just can't. It requires a very, very slow boil. Something which the medium won't allow.


You can't get that slow boil into 2 hours, no. But again, I've read many comments in common with my own feeling that the viewer coming cold to Serenity does grasp that group dynamic very quickly, and sense the backstory.

I agree that Book's cameo and death didn't affect me, and Inara was, as you say, just some kick-ass courtesan like Dale Arden. Those characters' roles were stripped right down, and I was quite startled to find what a central part both of them had in the series, by contrast.

It's not true that you can only have a sense of deep ensemble connections from 15 episodes of a TV show. Star Wars: A New Hope, Reservoir Dogs, Rio Bravo and a host of other Hawks movies manage to give the viewer group chemistry within the first half hour of a movie. It's obviously not the case that you can only care about a character's death if you've lived with him or her for a whole season. True, Wash's death didn't have the repercussions for me that, say, Jack Bauer's would, but as another example, I only "knew" Maggie Fitzgerald in Million Dollar Baby for a couple hours, but that didn't stop me from getting choked by the end of that film.


It seems box office is poor for Serenity, but the reviews are stellar.
 
 
Mourne Kransky
20:58 / 20.10.05
Enjoying watching the DVDs again, in the wake of the film. Just watched Jaynetown and any episode with Adam Baldwin on screen throughout has got to be sexee. But the best bit was realising from the end credits just there that the Associate Producer was Brian Wankum. Tittering adolescently.
 
 
ONLY NICE THINGS
22:03 / 20.10.05
See also the orchestration performed on Buffy by Thomas Wanker.

Re: River as Drusilla - this is certainly something that annoys me about the character, and indeed Joss Whedon's broader tendency to "write mad" - River, Drusilla, Spike. This reaches its apalling high point in "Shindig", when River _does Drusilla's accent_, at which point I bit my tongue off and spat it at the "off" button of the DVD player.
 
 
skolld
22:52 / 20.10.05
I agree that Book's cameo and death didn't affect me, and Inara was, as you say, just some kick-ass courtesan like Dale Arden

i thought this was interesting too. I had never seen the series before watching the movie, and in the film i never even knew Inara was a high class hooker. i just thought she was living a monk type lifestyle or something. Filmwise she seemed like a pretty useless character, so i was amazed to find out she was so important in the series.
 
 
Evil Scientist
07:58 / 21.10.05
However, I didn't realise the main action of the film takes place 8 months on from the Jubel episode. If that's so, it begs further questions for me, like why Mal is still talking about Simon and River as if they're semi-stowaways, rather than entirely valid members of the crew... he's still treating them like he did in the pilot, as unwelcome guests.

Primarily because, although he's been nice enough to shelter the runaways, he knows that it's eventually going to bring down a world of hurt on him and his crew. Sheltering them is a stab in the eye of the Alliance, and revenge on them is a strong motivator for Mal.

He and Simon don't get on. Simon is a walking talking example of Alliance aristocracy. River is potentially extremely dangerous to both Mal and his crew (simply because of her instability). He used Simon's medical skills as an excuse to keep them on the ship because he does genuinely want to help people. But he's such a closed off person he can't allow people to see that he's doing a good thing. He wants the world to see him as a bad guy.

He's not Han Solo, as some people suggest, Han Solo probably wouldn't condemn an innocent man to death by pushing him off the mule and into the loving arms of a pack of Reavers. Mal's portrayed as a man who can, when it's required, be extremely ruthless. Solo shoots a man trying to kill him, it's not really the same level of callousness.
 
 
Jack Vincennes
10:15 / 21.10.05
Filmwise she [Inara] seemed like a pretty useless character, so i was amazed to find out she was so important in the series

That was something I noticed even more when I watched Serenity the second time, her role really did seem to be reduced to standing around pulling faces. She's obviously been important to Mal, but nothing about that is really clarified either. Liked her bow and arrows when they were fighting reavers, though.
 
 
Evil Scientist
11:06 / 21.10.05
I agree that it should have been made clearer what a Companion is, aside from that one line from Kaylee we hear next to nothing. She certainly falls by the wayside in the last act of the film (where, it could be argued it turns into the Mal and River show). To be brutally honest though Inara could have been cut from the film and you wouldn't lose very much. She was never a particularly interesting character.

Would have been nice to see her using the contents of the syringe she looks at thoughtfully in the pilot episode. Whedon has said it wasn't poison and she wasn't planning on killing herself rather than be taken by the Reavers. Battle drug of some kind?

I suppose one kung-fu lady was enough.

...I suppose.
 
 
Laughing
11:10 / 21.10.05
I just got the DVD of the series yesterday. I'd never seen the show before but I'd heard good things. So far I'm three episodes in and I love it.

It took me a while to realize the crew was occasionally speaking in Chinese and I wasn't just losing my ability to comprehend English. That is Chinese, right? Or should I reschedule that appointment with the neurologist?

I'm going to finish the series before I see the movie. That seems like the best course of action.
 
 
Evil Scientist
12:52 / 21.10.05
Yep that is indeed Chinese you're hearing. The civilisation in Firefly/Serenity is supposed to be formed from a merging of US and Chinese superpowers. It's a nice touch, and allows lines like "F**k everyone else in the universe to death!" to be said on primetime telly.

If you watch the background you'll see a lot of Chinese ideograms and items too.
 
 
FinderWolf
12:56 / 21.10.05
I'm going to see it for a 2nd time in NYC - and looking up theaters, I notice that it's only playing in 3 NYC theaters now (not counting the boroughs).
 
 
FinderWolf
13:01 / 21.10.05
Anyone else catch a brief glimpse of the "Blue Sun" logo on one show showing a busy street? "Blue Sun" was occasionally mentioned in the TV series as the world of Serenity's megacorporation.

Also, in the skyline of the empty city on the planet where the Reavers were created, one of the buildings looks suspiciously like the original design of the WTC Freedom Tower.
 
 
Cat Chant
13:14 / 21.10.05
If you watch the background you'll see a lot of Chinese ideograms and items too.

But no people with visible Chinese origins, which I find bizarre to the point of vastly undermining the credibility of the universe.
 
 
Cat Chant
13:24 / 21.10.05
Bill R wrote:

no political commentary? Are you mad?

Not sure whether it's aimed at me, but I'll take it anyway, because I stand by the fact that it's fundamentally an apolitical film (this is what I hate about Westerns, as well: they're all about an incredibly depoliticized ideal of the rights of the invididual. The polis is the organization of human plurality. If you have no concept of human collectivity - if you're arguing in favour of 'individual rights' as conceived in strict opposition to the organization of plurality - then you don't have an adequate concept of politics.)

The first review I linked to above says it best, though:

And there's an evil empire. Wow. There's a novelty. I forget what this one's called - the Alliance or something - but it doesn't matter. They're all the same. They're sleek and clean, faceless and bland, in stark contrast to the multi-coloured, multi-textured rough-edged trappings of the heroes. Perhaps we're meant to think they represent nasty Big Government, but they don't. They're just mass society, the post-Industrial Revolution urban bloat. The heroes of Serenity - and they are heroes, not one of them deserving even the smallest 'anti' prefix - might for a moment seem like champions of freedom and individualism, but really they're just another howl of existential anguish. We've got enough of those already.
 
 
Regrettable Juvenilia
13:39 / 21.10.05
Gotta say, that paragraph's a little detached from the original text for my liking.
 
 
Regrettable Juvenilia
13:48 / 21.10.05
But you're certainly right about the crazy one by crazy homophobe Orson Scott Card (I assume you meant "than this one by Orson Scott Card" rather than "and this one by Orson Scott Card"?), which is bollocks, complete with a patronising "if you don't like this you are teh Sheeple!" ending.
 
 
Regrettable Juvenilia
14:07 / 21.10.05
Actually, reading that temeres review, that's deeply problematic too.

Take a clutch of decent, morally upright middle class folk, dress them up in tatty clothes, and have them pretend to be amoral, cynical mercenary types who rob people and do nasty stuff like shoot unarmed people.

Isn't this called 'acting'? Or is the reviewer saying that the Serenity crew are all middle class? Because they're just not. Simon and River are upper class, Mal is rural working class, Jayne is, well, Jayne, but he's not middle class.

A ruggedly handsome captain whose chief talent seems to be getting people to follow him around for no readily explicable reason

Except that he's the captain. But okay, I'm nitpicking at a nitpick there.

Let's get on to the big issue, which is temeres' criticism of the way in which the Reavers are handled.

If Whedon's saying what I think Whedon's saying, then letting rip with all barrels blazing is a perfectly legitimate final solution to the chav problem. (I admit it can seem like an attractive solution at times, but it takes more than seeming attractive to legitimise something.) Expect a rave review from the Daily Mail.

Criticising the portrayal of the Reavers as dehumanising and Daily Mail-esque whilst also using the term 'chav' apparently uncritically shows a distinct lack of self-awareness, as far as I'm concerned. Actually, assuming that the Reavers are meant to be an analogy for "the chav problem", whatever that is (tell you what - I'll ask), makes little sense to me. I mean, the problem with the Reavers if you want to read Serenity politically is that they don't work as analogous to any group of people, not that the film says it's okay to shoot those people.

I dunno, I also get fucked off by reviews of art that claim it's not radical enough without seeming to say what real radicalism would look like. I'd need to know more about this temeres person to comment further, though.
 
 
Regrettable Juvenilia
14:09 / 21.10.05
Also, from an aesthetic point of view, judging it as a review: "If this is SF, then the S stands for Shite." = painful.
 
 
Gypsy Lantern
14:14 / 21.10.05
The heroes of Serenity - and they are heroes, not one of them deserving even the smallest 'anti' prefix

If throwing a man off a vehicle into the clutches of terrifying cannibals and frequently shooting unarmed people dead without batting an eyelid, whilst making your living by piracy and theft, doesn't make you an anti-hero - what does?

And that's just Mal, certainly Jayne has demonstrated much more unpleasant qualities such as the bit where he actually sells out the entire crew for money.
 
 
Withiel: DALI'S ROTTWEILER
14:46 / 21.10.05

But no people with visible Chinese origins, which I find bizarre to the point of vastly undermining the credibility of the universe.


Actually, according to (I think) the DVD commentary, Whedon originally wanted a far larger number of people with visible Chinese origins, but FOX didn't like the idea at all...
 
 
Cat Chant
14:55 / 21.10.05
If throwing a man off a vehicle into the clutches of terrifying cannibals and frequently shooting unarmed people dead without batting an eyelid, whilst making your living by piracy and theft, doesn't make you an anti-hero - what does?

Being in a film where those things aren't uncritically condoned?
 
 
Regrettable Juvenilia
14:57 / 21.10.05
A film like Serenity, then.
 
  

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