Tag Archives: Firefly

Classic TV: ‘Firefly’ ‘Our Mrs. Reynolds’

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For a show that aired on Fox for only a few weeks a decade ago, Joss Whedon’s “Firefly” has inspired quite a cult following.

And it’s a following that no doubt irritates some people. Before he hit it big with “The Avengers,” Whedon was the kind of writer/director whose creativity inspired devout fans, who in turn seemed to inspire detractors who posted online messages along the lines of “These shows, like ‘Buffy the Vampire Slayer’ and ‘Angel,’ can’t be that good and Whedon is overrated and while you’re at it, go to hell.'”

“Firefly,” famously mishandled in its original network airing, nonetheless found a cult audience that very well might top “Buffy” and “Angel” in its devotion. The show’s “browncoat” fans are fervent to say the least.

It’s not hard to see why.

I watched a few episodes of “Firefly” when it originally aired in 2002 and thought it was … fine. It was a nice-looking, easy-to-follow “space western” about a group of shippers and smugglers who travel from world to world, licking their still-painful wounds from being on the losing side of an interplanetary civil war and trying to stay off the radar of the oppressive government.

The captain of the Firefly-class space ship Serenity, Mal Reynolds (played to perfection by Nathan Fillion) is surrounded by a crew that’s either devoted to him or willing to sell him out or, at various times, both.

The relationship between Mal and his crew was never better served than with “Our Mrs. Reynolds,” the sixth episode.

Mal, Jayne (the somewhat mutinous crew member played by Adam Baldwin), and Zoe (Gina Torres, his loyal former fellow soldier) help a town on a backwater planet rid itself of bandits and desperadoes, “Magnificent Seven” style. After a party honoring the crew, a groggy Mal wakes up on board the ship to find a beautiful young redhead, Saffron (Christina Hendricks, later of “Mad Men” fame), in the cargo hold.

In halting terms, Saffron explains that she and Mal are married and that she was a gift from her town for his help and she would be a good wife to him and doesn’t she please him? Mal is taken aback but is really disgruntled when his crew, led by ultra-loyal Zoe, begins mercilessly teasing him about his young bride.

Saffron sets about taking care of Mal, cooking for him, offering to wash his feet and sliding her curvy body between his sheets to warm his bed for him.

Mal has been warned by Book (Ron Glass), the ship’s resident preacher, of the dangers of taking advantage of such an innocent. “There’s a special hell for child molesters and people who talk in the theater,” Book warns him. “A special hell.”

Of course, Saffron isn’t what she seems. She’s part of a plot by some spacecraft scavengers to capture the Serenity for the value of its parts. Saffron seduces Mal, tries to seduce Zoe’s faithful but flustered husband Wash (Alan Tudyk, priceless) and even, in a desperate moment as her plan begins to unravel, sets her sights on Inara (Morena Baccarin), the high-class “companion” traveling with the crew. The moments near the end when Inara tries to distance herself from her reaction to both Saffron and helpless, unconscious Mal are hilarious.

Likewise, disreputable horndog Jayne’s lust for Saffron and his offering of Vera, his prize gun, to Mal in exchange for his young bride.

The episode played up not only the unlikely bond between the Serenity shipmates but also the excellent cast of “Firefly.”

And who didn’t come away from seeing “Our Mrs. Reynolds” and think, “Wow, Christina Hendricks is beautiful and a wonderful actress?” It was no surprise she found fame as Joan on “Mad Men.”

“Our Mrs. Reynolds” is a high-water mark even for a consistently terrific show like “Firefly.”

 

‘Buffy,’ ‘Angel’ and modern-day cable

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“Buffy the Vampire Slayer” ran seven seasons and its spin-off show, “Angel,” ran a too-short five. Both aired on what were considered “mini” networks, The WB and The CW, but networks nonetheless with obligations to meet the standards of broadcast networks and bring in some semblance of traditional over-the-air ratings.

But we can only dream about how those Joss Whedon series as well as his “Firefly” and “Dollhouse” series might have faired if they had aired on channels that were decidedly off-network.

I’m thinking of TNT, FX, USA, AMC and A&E, channels – not networks, since networks are networks of stations, while cable channels have no physical presence out in the real world – that schedule, carry and nurture high-quality episodic drama.

Can you imagine “The Shield” or “Mad Men” or even “Falling Skies” on network TV?

I can’t. I can’t imagine those niche shows pulling enough viewers to stay on the air. “Firefly” sure didn’t.

I can’t imagine the networks allowing the creators of those shows to produce as few as 10 or 12 or 16 episodes per season, something that’s become routine with shows like “The Walking Dead” and “Breaking Bad.”

There seems to be less pressure without a 22-episode, big network season. Less expectation of Super Bowl-sized ratings. Less expectation of quickly meeting the 100-episode threshold for syndication.

With those shorter seasons, you can weed out the deadwood episodes. Okay, some of us were a little impatient with how long last season’s “The Walking Dead” spent on the farm. But it didn’t have to be that way. Look at last season’s “Mad Men” as an example. While the season had its critics, I thought almost every episode was riveting. Would that have been the case if the creators had been compelled to turn out twice as many episodes to fill out a network season?

Who doesn’t think “Smallville,” for example, would have been better with about a half-dozen fewer episodes per season and a little less filler? How about “Lost?”

There are some drawbacks. Out of sight, out of mind. “The Sopranos” and “Mad Men” took their time and sometimes a year or even more passed between seasons. It was torture but it made us look forward to their return even more. That trick wouldn’t work for every show, however.

And admittedly, there’s still less visibility on cable, at least for some audiences. We live in a world where the biggest ratings are still garnered by standard network fare like cops-and-robbers procedurals. We can take solace in knowing that we’re cooler because we know all about “Justified.”

So in my alternate reality TV word, “Buffy” and “Angel” and “Firefly” are still chugging along, well  into the double-digits in years on the air. They’re just airing fewer episodes and every episode is greeted with a sense of anticipation and celebration.

Whedon to develop ‘Avengers’ universe TV show too

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Well, duh.

In a perfect case of reverse-engineering, Disney and Marvel announced today that Joss Whedon, who got his start in TV and then directed “The Avengers” to good effect – and $1.5 billion in worldwide box office – will not only direct “Avengers 2” but oversee the development of the live-action TV series set in the “Avengers” movie universe.

It makes perfect sense, and some of the people reacting online tonight are sharing the same line of reasoning that had settled, like a fog, into my brain. Whedon, who made great TV series like “Buffy the Vampire Slayer,” “Angel” and “Firefly,” has moved on, we told ourselves. He’s not going back to TV after having directed one of the biggest movies ever.

Well, turns out that way of thinking was wrong, wrong, wrong.

Now I doubt we’ll get Joss Whedon, showrunner, or Joss Whedon, director, or much more than Joss Whedon, occasional screenwriter, on this series.

But the man knows how to make a TV series with wit, action and service to multiple characters.

Turns out that was the strength that made him so right for “The Avengers.”

So here’s to a happy, anticipatory “Well, duh.”

Joss Whedon will be helping create the “Avengers” universe live action TV series.

Of course.

Fudge you and frak her too

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Okay, maybe it says something about the kind of day I’ve had, but tonight my thoughts turned to cursing.

Specifically, the kind of cursing people do in movies, suitable-for-radio songs and (especially) TV shows.

A recent example of what I’m talking about: The Cee Lo Green song “Forget You,” which isn’t really called “Forget You.” But thanks to the censored version — which probably gets more play than the uncensored version, except in strip bars — Cee Lo is a household name and star of a TV competition show.

In a time when bleeped expletives on TV are commonplace — and don’t take much effort to figure out — the made-up variety of cussing is a lot more entertaining.

So here’s a sampling of imaginative, imaginary cursing.

“Rassin-frassin-rassin …” Once-popular cartoon favorite Yosemite Sam, who appeared in 45 Warner Brothers shorts beginning in the 1940s, popularized this garbled style of cussing. Sam was kind of a daring character, really. Daffy Duck was a bitter little mallard but he didn’t swear. Just the fact that Sam muttered expletives in cartoons was testimony to how the Warner Brothers classics were made for adults as well as kids.

“Frak” and “Felgercarb.” In the original 1970s “Battlestar Galactica” series, characters routinely cursed by uttering “Frak.” We knew what what they meant. The 2000s revival of “Battlestar Galactica” brought “Frak” to a wider, hipper audience. Really, how cool was it when characters on other shows, including “Veronica Mars,” started exclaiming “Frak!”

“Felgercarb” — a euphemism for crap, according to the Battlestar Wiki — however, never caught on. Which makes sense, I guess. People could say crap on TV. They didn’t need a euphemism.

“Motherless goat of all motherless goats.” Don’t recognize it? That’s because it was uttered, in the original Chinese, on the much-missed Joss Whedon 2002 series “Firefly.” The series was set in a future in which China had a huge influence on human culture so, ideally, some of the best curses would be uttered in Chinese.

@%$#@! Okay, anyone who’s read comic strips and comic books recognizes what’s sometimes referred to as “cartoon cursing” or “comic strip cursing.” The fun part is that you can apply almost any string of curse words to it. And any random combination of top-row symbols.

“Oh, fudge!” One of my favorites. It’s from “A Christmas Story,” the 1984 classic that’s become a holiday season TV fixture. Fans remember that Ralphie blurts out “Oh fudge” when he drops a hubcap full of lug nuts. Except he doesn’t say fudge, of course.

Soapy mouth-washing-out ensues.