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Is Firefly better off cancelled?

That said, I am also curious what it would look like if existing Firefly episodes were retold from the perspective of the Alliance. Might get a rather interesting result, ya? Fans have been conditioned to believe that the Alliance is just a black-hat "evil empire", like the one from SW, even though Joss Whedon himself has said that the Alliance is not completely evil (I believe his specific analogy was that sometimes the Alliance is good, like the USA in World War II; other times not so good, like the USA in Vietnam). So I wonder what would happen if the Alliance got its say, so to speak. We're supposed to think that Independents=good and Alliance=evil, but that's only because the main characters are all browncoats...

Or to put it another way: The independents weren't the only ones who suffered at Serenity Valley, were they? ;)
Knowing how much Whedon likes to experiment and play around with standard episode formats, I wouldn't be surprised if we had gotten an episode from the Alliance's perspective if the show had continued.
 
Fans have been conditioned to believe that the Alliance is just a black-hat "evil empire", like the one from SW
Fans, maybe, but not me. The Empire from Star Wars had a terrifying black warrior with faceless minions capturing a vessel, shooting its non-masked defenders, and harassing a noble young woman in its opening scene. Before an hour of screen time had elapsed, they'd murdered an entire planet. That's some palpable evil.

But Firefly's Alliance? From what I've seen, they mostly came across as bureaucrats - maybe bureaucrats on the wrong side, though the matter of sides was always extremely vague, with the nature of the war almost entirely undefined - but in no way an obviously evil empire, even if some elements did some bad things now and then. (Heck, the US does terrible things far too often, but I don't jump from that to calling either our entire military or country "evil".) And the crew of the Serenity are such smug, self-interested, oh-so-"witty" drifters that anyone gunning for them have something of an inherent appeal in my book. Whedon may have seen them as his children and been in love with them, such that he assumed we'd hate their opponents even without compelling reason, but I for one wasn't on board that train. :p
 
Oh i'm pretty sure that given enough time the show would have delved deeper in the Civil War and expanded on the Alliance/Browncoats "relationship" and i'm also sure that the Alliance would have been shown as a more shades of grey type deal including a decent general population but also tons of shady secret organizations that do the dirty work behind the scenes.

It's as you said akin the the USA.. enough bad things done in the name of freedom and national security but still a better place than say North Korea. Firefly had the Reavers for absolute evil (even if they are not responsible for what they are given the information from the movie).
 
i'm also sure that the Alliance would have been shown as a more shades of grey type deal
You're not getting it - they already were a "shades of gray type deal", and that was a problem. ;)

It's as you said akin the the USA.. enough bad things done in the name of freedom and national security but still a better place than say North Korea.
Exactly, and by our analogy, this show was asking us to root for a ragtag group of true believers in the North Korean ideology. I want to know for what cause these people thought killing others was justifiable, and the show's vague intimations that "they were being nosy meanies" wasn't cutting it.
 
I'm not a big fan of Firefly but at the time when shows like Crusade, Space:Above and Beyond, Journeyman etc were cancelled I always wanted more. But everything has consequences and at some point you have to decide for yourself if what we got instead from the involved parties was better. I like the Dark Knight trilogy but if any one of the proposed Batman films that were suggested to be made between Batman and Robin and Batman Begins had gone ahead then that whole film series would never exist. At the same time, I would love to be able to pop into alternate universes and watch each one!
I wonder about another Firefly film or short series though. I mean I'm still hopeful for a Space Above and Beyond reboot so I say any thing's possible!
 
Looking forward to the happier remakes of "Saving Private Ryan"*, "Hamlet"**, and "War and Peace"*** in that case.
Or the unhappier remakes of All's Well That Ends Well and A Midsummer's Night Dream. But Serenity was not a remake, it was an original work that killed off major (and interesting) characters strictly for shock effect, so that we viewers would know that anything can happen and it usually does, just like Surprise Day on The Mickey Mouse Club-- one of the laziest tropes of contemporary fiction.
 
What I meant was those "great works" have many more deaths of central characters. However, on reflection, I take your point. In the works I quoted, the deaths drive the plots and have meaning while Wash's death did seem to be merely for shock effect for those invested in the character (but not me). Did Alan Tudyk ever state what he thought about it other than the following?:
“Yeah, it sucks to be the one who can’t come back for the sequel,”
http://www.huffingtonpost.com/jim-hill/alan-tudyk-wreck-it-ralph-sequel_b_2612962.html

A sequel doesn't appear to be forthcoming, probably because the first didn't make enough money or Whedon has other fish to fry.

ETA: If there were a sequel, one way for Book and Wash to make cameo appearances would be for River to have an eidetic, mimeographic talent where surviving characters would hear Book's or Wash's voice speaking and the audience would see those characters, only for them to discover that it's River channelling those personnae in situations appropriate to those lost characters.
 
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Wash's death did serve a narrative purpose. Whether or not you agree with it is up to you, but Wash was killed off so the stakes would be high for the final fight. "Oh no! Wash died, now anyone could be next." was what Joss wanted to make the audience think.

Like I said, whether or not you agree with Wash's death is up to you, but it did serve a purpose.
 
Wash's death did serve a narrative purpose. Whether or not you agree with it is up to you, but Wash was killed off so the stakes would be high for the final fight. "Oh no! Wash died, now anyone could be next." was what Joss wanted to make the audience think.

If Whedon wanted to dramatize the high stakes of the final fight, why not kill one of the characters during the course of that fight? As it stands, it's a comic book battle with little jeopardy.

Or, if he wanted to actually add drama by killing Wash, why not kill him before he can make his triumphant landing, forcing someone else who is a far less experienced pilot to take the controls? There's drama! Instead, the film disposes of Wash when he his narrative purpose has expired.
 
If Whedon wanted to dramatize the high stakes of the final fight, why not kill one of the characters during the course of that fight? As it stands, it's a comic book battle with little jeopardy.

Or, if he wanted to actually add drama by killing Wash, why not kill him before he can make his triumphant landing, forcing someone else who is a far less experienced pilot to take the controls? There's drama! Instead, the film disposes of Wash when he his narrative purpose has expired.
This is closer to my point. Instead of feeling like "The stakes are high!" it feels like "You're dead. Sucks to be you" in terms of the narrative.

My other point is that Wash's death is shocking, and is not commented on. Book at least got Mal so pissed off that he made his ship in to a flying abomination, with Book right on the nose of Serenity. Wash gets a graveside nod, and that's it. It comes from nowhere, and goes nowhere.

That might be real life, but I don't watch movies for realism, for the most part.
 
Like I said, whether or not you agree with Wash's death is up to you, but it did serve a purpose.
That may have been the intended purpose, but it didn't work for me. Maybe in a different time, when it wasn't such an overused trope. Or maybe the script needed to go through a few more drafts, because pretty much the whole movie didn't work for me.
 
Fans, maybe, but not me. The Empire from Star Wars had a terrifying black warrior with faceless minions capturing a vessel, shooting its non-masked defenders, and harassing a noble young woman in its opening scene. Before an hour of screen time had elapsed, they'd murdered an entire planet. That's some palpable evil.

But Firefly's Alliance? From what I've seen, they mostly came across as bureaucrats - maybe bureaucrats on the wrong side, though the matter of sides was always extremely vague, with the nature of the war almost entirely undefined - but in no way an obviously evil empire, even if some elements did some bad things now and then.

I mean, the Alliance in Firefly/Serenity comes across as a complex society in which there are both major positives and major negatives. For instance, in, if I recall the episode title correctly, "Ariel," when the crew steals important medical supplies from a hospital, they are utterly unconcerned about it hurting patients -- because apparently the Alliance's health care system is so advanced and efficient that those supplies can be relied upon to be replaced very quickly.

On the other hand, we're also talking about a government that attempted to medically re-engineer human nature, accidentally killed thousands if not millions of colonists on Miranda, covered up their mass-death blunder, and unleashed the Reavers on the periphery of the System.

We are also talking about a government that engaged in a war of conquest against the independent worlds out the Rim who did not consent to be part of the Alliance--which seems to me to be no less a war crime than George W. Bush's invasion of Iraq. To say nothing of the hypocrisy involved in formally annexing a territory yet refusing to administer it properly.

And of course we cannot forget that this government also does things like abduct teenage girls (their own citizens, to boot) to conduct unethical medical experiments on them without their consent; employ special operations forces that engage in summary executions (the doctor at the beginning of Serenity) and mass murder (the numerous towns and villages the Operative exterminated in Serenity); and contracts with corporate mercenaries who routinely engage in acts of murder against even Alliance law enforcement personnel (the Blue Hands murdering Alliance law enforcement officers in "Ariel").

And perhaps most strikingly, the Alliance is a government that allows both indentured servitude ("The Train Job") and outright slavery ("Shindig"), at least on its periphery. And indeed, "Jaynestown" establishes that practical conditions for indentured servants on some of the Rim planets are de facto systems of slavery. (In fairness, the complicating factor is that the implication of episodes like "Ariel" is that such practices do not exist on the well-developed Core worlds that initially formed the Alliance.

And that's setting aside other illiberal traits, such as the pervasive surveillance system in place on the Core worlds.

All of which is not to say that the Alliance does not also have its benefits. Alliance education systems and medical systems seem to be highly advanced, and what little we see of quality of life on the Core worlds seems quite high. The presence of a Parliament (established in Serenity) implies that the Union of Allied Planets (the Alliance's formal name) is governed by at least a pseudo-democratic system. The Operative's words at the end of Serenity about the consequences of the word getting out about Mirand, seem to imply that the Alliance has a system that protects the right to freedom of speech and of the press, and that the Alliance Parliament either responds to public pressure or is outright accountable to the public in some way. The numerous different religions we see implies that the Alliance has a system protecting freedom of religion. And so far as can be discerned, the Alliance seems to lack systems of racial supremacy or subordination.

But it's fair to say that the Union of Allied Planets has a severe human rights deficiency on a level that even the modern imperium of the United States does not match.

Heck, the US does terrible things far too often, but I don't jump from that to calling either our entire military or country "evil".)

On the other hand, some of the fundamental pillars of our society are deeply oppressive. White supremacy is in the long-term process of being dismantled, but it is pervasive and deeply entrenched in American cultural values--just look at how controversial it is when black people say that cops should stop murdering them. And of course capitalism, our fundamental way of life, is built on oppressing and exploiting the working class. Is the United States "evil?" I don't think you can categorize an entire society as "good" or "evil," but our culture is often deeply abusive and oppressive to those who are poor or who are women or who are ethnic minorities.

I would contend that we're doing better than the Alliance, though. We don't allow outright slavery and indentured servitude. (Though we do make use of prison labor, which is not a whole lot better than slavery.)

And the crew of the Serenity are such smug, self-interested, oh-so-"witty" drifters that anyone gunning for them have something of an inherent appeal in my book. Whedon may have seen them as his children and been in love with them, such that he assumed we'd hate their opponents even without compelling reason, but I for one wasn't on board that train.

I think one of the interesting things about the very second episode, "The Train Job," was Mal realizing he needed to return medical supplies he had stolen from Alliance forces, because those supplies were going to be distributed to people on a badly-impoverished world suffering a disease outbreak. The Alliance is often deeply oppressive and abusive on the Rim worlds, but it's also providing both physical and political infrastructure that those worlds badly need.

FPAlpha said:
It's as you said akin the the USA.. enough bad things done in the name of freedom and national security but still a better place than say North Korea.

Exactly, and by our analogy, this show was asking us to root for a ragtag group of true believers in the North Korean ideology.

I don't think this analogy works at all. The Independents cannot really be compared to North Korea by any meaningful standard, because we have no particular sense that they're a totalitarian movement, nor even that they were particularly unified amongst themselves. The various Rim worlds we see in Firefly seem fairly diverse in terms of their different cultures--as near as I can tell, the only thing the Independents all had in common was that they didn't want to be annexed by the Alliance.

I would make the argument that if we're going to compare the relationship between the Independents/Rim worlds and the Alliance/core worlds to anything in real life, we need to look at situations where wealthy, well-developed (in terms of technology and infrastructure) cultures invaded and annexed the territories of less-wealthy, less-developed cultures--and where those imperial cultures may have imparted to their colonies kinds of infrastructure that those cultures may have needed, yet were also deeply abusive to them. So the British Empire in India, or the United States in the Philippines. Or, if we want to be more contemporary, the United States in Iraq.

The Iraq comparison may well be illustrative. It's all well and good to condemn a hypothetical show asking us to root for North Koreans who believe in juche. But what about a show about a former Iraqi insurgent who fought against the American invasion and occupation of his country because he believed in Iraq's right to self-determination and independence? Is he necessarily a bad guy? Is that a point of view we can sympathize with (even as we recognize that we, as Americans, certainly cannot tolerate or accept the killing of our own people)?

I think that's Mal. We know from episodes like "Our Mrs. Reynolds" that, whatever his flaws, Mal does not approve of a lot of cultural practices on other Rim worlds -- the violent theocracy-lite in "Safe," or the misogyny in "Our Mrs. Reynolds." And yet, Mal still believes that it was the right of those worlds to decide for themselves if they wanted to be part of the Alliance or not.

I want to know for what cause these people thought killing others was justifiable, and the show's vague intimations that "they were being nosy meanies" wasn't cutting it.

I mean, I've outlined several different human rights abuses we saw routinely during the show and the films. And "we meddle" is just an argument against paternalistic imperialism.

ETA:

I really wish we had learned more about the Alliance's formal government. If there's a Parliament, does that mean they have a Prime Minister? What kinds of Chinese influences does the Alliance government have--maybe they have a Paramount Leader on top, and a Prime Minister running things day-to-day? Is the Alliance Parliament a real parliament, or is it a rubber-stamp legislature like the National People's Congress? Is it a multi-party system, or a single-party system? What's the relationship between the Chinese-dominated planets and the American-dominated planets, and how do their planetary governments compare? Is everyone enfranchised, or is the right to vote restricted, or is it restricted on some worlds but not others?
 
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On the other hand, we're also talking about a government that attempted to medically re-engineer human nature, accidentally killed thousands if not millions of colonists on Miranda, covered up their mass-death blunder, and unleashed the Reavers on the periphery of the System.
Which the vast majority of its citizens and those that fought for it had no idea was the case, and even our "heroes" didn't know that until the movie, long after they'd warred against them. Heck, as I recall, even the Operative didn't know that. So, again: one of my big gripes with the show is that it didn't establish from the start what the stakes were/had been. If Whedon wanted to do a frontier show, why not just have lots of factions with a history of petty squabbles, rather than an ill-defined big war? Whatever depth the war backstory gave the characters wasn't worth its narrative complications for me, and that's my two cents. ;)
 
Which the vast majority of its citizens and those that fought for it had no idea was the case, and even our "heroes" didn't know that until the movie, long after they'd warred against them. Heck, as I recall, even the Operative didn't know that.

"Massive cover-up of enormous human rights violation" isn't exactly an argument in that government's favor. ;)

So, again: one of my big gripes with the show is that it didn't establish from the start what the stakes were/had been. If Whedon wanted to do a frontier show, why not just have lots of factions with a history of petty squabbles, rather than an ill-defined big war?

I mean, I was debating the relative morality of the Alliance government, not debating the quality of the show per se. But I would just point out that with only 15 episodes, it's entirely possible we would have seen conflicts between various factions on the Browncoats side.

We should probably also bear in mind that Firefly was produced 14 years ago, during the earliest years of the modern Golden Age of Television, and that it was part of the process by which television dramas transitioned from unplanned episodic structures to broadly pre-planned serialization. So there is a bit of a curve I think Firefly ought to be graded on compared to modern television.
 
My opinion (and it might well be wrong or overstated) is that Firefly was Whedon's attempt at a recreation of Blakes 7, which I understand he admires (apart from, perhaps, the lamentable production values because of the lack of money available) having been a student in the UK in the early 80s. However, Blakes 7 did a much better job of setting up the Federation as a brutal, fascistic state that needed to be resisted by a gang of assorted misfits and rogues in a spaceship.
 
My opinion (and it might well be wrong or overstated) is that Firefly was Whedon's attempt at a recreation of Blakes 7, which I understand he admires (apart from, perhaps, the lamentable production values because of the lack of money available) having been a student in the UK in the early 80s. However, Blakes 7 did a much better job of setting up the Federation as a brutal, fascistic state that needed to be resisted by a gang of assorted misfits and rogues in a spaceship.

While it's certainly plausible that it could have been an influence, I had never heard of Wheadon citing Blake's 7. To the best of my knowledge, Wheadon has cited three main creative influences: the 1974 novel The Killer Angels by Michael Shaara, about the Battle of Gettysburg (clear counterpart found in the Battle of Serenity Valley); Star Wars and in particular Han Solo and the Millennium Falcon (whose clear descendants are Malcolm Reynolds and Serenity); and Star Trek, whose general statism Firefly is self-consciously reacting against. And of course, as Wheadon has pointed out, the Alliance is not supposed to be a fascist state -- think less "Nazi Germany" and more "United States in Vietnam."

To me, the Killer Angels is probably the most problematic of Wheadon's influences. Firefly as a narrative is self-consciously anti-slavery (in particular identifying slavery with the Alliance and its laundry list of human rights abuses) and anti-racist (in particular with the interracial marriage of Wash and Zoe, with Zoe as the seemingly dominant partner). But, there is no avoiding the fact that Firefly's depiction of the Browncoats as a noble movement crushed by the forces of history is influenced by the "Lost Cause" narrative that was created by those sympathetic to the Confederacy after the American Civil War. One could certainly interpret Firefly as being something of an inversion of the American Civil War -- the Alliance's class system is reminiscent of the Southern planter aristocracy, and that combined with its legalized slavery means one could also interpret the Alliance as being a mirror counterpart to the Confederacy. But when the first episode that ever aired literally has a white guy saying, "I'm thinking we'll rise again?" That's... uncomfortable.
 
Loved everything about Firefly, especially the Western influences and the Browncoat/Alliance part of the narrative. Nothing about it made me uncomfortable in that sense, and I've never had any sympathy whatever with the Confederate cause.

There were areas of omission that I disliked - the relative paucity of asian actors in a milieu that emphasized asian design motifs and cultural influences was a big one.
 
While it's certainly plausible that it could have been an influence, I had never heard of Wheadon citing Blake's 7.
I think whoever first quoted Whedon as having watched Blakes 7, and I've read this in several places, made it up:
"Never watched any British sci-fi," Joss says. "People were always talking to me about Blake's 7, Red Dwarf, even Doctor Who, and I just never watched them. I watched one episode of Doctor Who and I was like, 'Did they film that in my basement?' because it looked cheesy."
http://io9.gizmodo.com/the-real-reason-why-joss-whedon-named-his-space-western-1614273050
So I retract that hypothesis.
 
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