Serenity Review

"Wait...Buffy and Angel? Aren't those...like...vampire shows?"

Serenity has a difficult line to straddle. It must be accessible to those not steeped in Firefly's universe (not a small percentage of the population given the low ratings and subsequent cancellation of the show) while not retreading so much ground as to be redundant to the faithful (for whom, it must be noted, the movie was almost exclusively created). In short, it must be a movie for everyone and a last ditch, Hail Mary of an attempt to stir up enough interest to get the show back on the airwaves. Does it succeed? In all ways but one.

The show, after all, was never resuscitated.

Firefly: Heart of Gold Review

Firefly seems to make an economic assessment on the value of water along the lines of the econ 101 thought-experiment of the water-diamond paradox. (Said thought-experiment simply noting the primacy of scarcity over function in valuing a good on the free market.) In Firefly's future, it would appear that water is an expensive commodity, at least when bought for terraforming. The poorer the planet, the drier the climate and Heart of Gold is no exception. Unlike the wild-west styled dust-balls of Our Mrs. Reynolds and Safe, or the muddy mess of Jaynestown, Heart of Gold takes place almost entirely in a desert.

Firefly: War Stories Review

Over the course of the past two months, Firefly has been an enjoyable, if uneven, treat. Its strengths clearly lie in its human characters and believable dialogue whereas, no less clearly, its weaknesses are in poor production values and an over-earnestness that occasionally borders on camp. It has been genuinely scary, funny, and touching over the course of the 9 episodes seen thus far. Even with this experience however, I was unprepared for how powerful the emotional core of War Stories is.

Firefly: Ariel Review

Simon Tam (better known in some circles as the old Zac Efron) and his sister River have been among Firefly's most intriguing characters. Not necessarily due to the chops of the actors that portray them but rather the recurring impact their histories have on the overarching plot of the show. While the back-stories for Firefly's supporting characters range from mysterious allusions (Shepard Book, for example) to entire episodes (Jaynestown, for example), the recurring impact of the Tams' suggests that theirs was meant to be one of the core drivers for the series.

In Ariel, the mystery behind what happened to River is deepened slightly as Simon employs the crew to help him sneak her into a state-of-the-art hospital on Ariel, a core planet in Alliance space. While there, Simon discovers that River has undergone multiple surgeries on her brain which, combined with the increasingly super-natural abilities of the young lady, is making this side story downright Fringe-ian. Where this will take us by the season's (and series') end is certainly addicting but I don't hold out hope for a satisfying conclusion given the premature nature of the show's demise.

Firefly: Out of Gas Review

Tim Minear.

A quick review of the writing credits for each of the eight Firefly episodes seen so far reveals some interesting attributes of each primary scribe. Whedon's writing is, unsurprisingly, the most accessible and pleasing. Serenity, The Train Job, and Our Mrs. Reynolds all move effortlessly between humor and drama with neither tone feeling overdone. The guest writers range from pleasing (Jane Espenson's Shindig was a delight) to hackneyed (Drew Z. Greenberg's Safe felt mostly tacky) to overwrought (Ben Edlund's Jaynestown being the worst-reviewed episode thus far). Which leaves the work of Tim Minear, Whedon's creative second-in-command. Minear was responsible for the hair-raising Bushwhacked and co-wrote the enjoyable The Train Job with Whedon. But perhaps the most poignant Firefly episode to date is also Minear's second solo act and Out of Gas does not disappoint, suggesting that Minear might have his finger closer to Firefly's emotional pulse than even its more famous creator.