Tag Archives: firefly

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Listen to Episode 113, “Star-Cross’d Lovers and Space Cowboys”

Gobbledygeek episode 113, “Star-Cross’d Lovers and Space Cowboys,” is available for listening or download right here.

We’re taking a trip to outer space this week as we look at Brian K. Vaughan’s latest comic book series, Saga, which just wrapped its first arc last month; and Joss Whedon’s Firefly, which just celebrated its tenth anniversary. Paul and AJ discuss the weirdness and gorgeousness of Saga, then think about where they were when Firefly first aired and how they felt watching it become a cult phenomenon after its cancellation. Plus, Paul discusses the cassowary presentation he’ll be delivering at the National AAZK Conference, AJ muses on The Master, and more!

Next: do you know the Muppet man? We’ll be discussing the works of Jim Henson.

(Show notes for “Star-Cross’d Lovers and Space Cowboys.”)

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‘Prometheus’ Review: Lost in Space

Ridley Scott’s Prometheus has an early shot which undeniably quotes 2001: A Space Odyssey, a beautiful image of a planet ringed with light. There’s some more striking imagery, of an unidentified landscape. A humanoid being removes his cloak and ingests some form of liquid which quickly begins killing him. He sacrificially gives himself to the river, where he falls apart piece by piece, his body possibly giving birth to life as we know it. That’s a provocative beginning for a big-budget science fiction film, one that clearly announces its intentions to be a thoughtful exploration of the creation and destruction of life. As they say, the road to hell is paved with good intentions.

After the cryptic prologue, things get off to a very good start. The crew of the good ship Prometheus–which looks like a jumbo Serenity, but maybe that’s just me–is awakened from cryogenic sleep after two years by the android David (Michael Fassbender). Scientists Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) have discovered cave paintings from around the world, all of which depict images of a figure gesturing toward the same star pattern. They’ve followed that pattern all the way out to the middle of space, hoping to find the meaning of life, the universe, and everything. There are some big ideas at play here, and in the early going, there are conversations about whether the existence of supposed humanity-creating beings (Engineers, they’re called) negates or supports the existence of God. Holloway posits that because they now know the Engineers exist, the cross Shaw wears around her neck is meaningless. Shaw, with a wink in her eye, then asks where the Engineers came from.

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‘The Avengers’ Review: Marvel Six-in-One

Four years ago, two films gave the superhero genre a much-needed kick in the pants: Iron Man and The Dark Knight. They were on opposite ends of the spectrum–the former bright and funny, the latter dark and gloomy–but both felt honest, and honesty’s something the genre needed in order to mature. This summer sees the release of two films which seem destined to revitalize the genre yet again, and it’s only fitting that they are The Avengers, the end result of Marvel’s first wave; and The Dark Knight Rises, the last of Christopher Nolan’s Bat-flicks. The Dark Knight Rises is still a couple months off, but just as that one looks like it’s angling to be even darker and more despairing than its predecessors, The Avengers aims to be more colorful, rousing, and exciting than those leading up to it.

Any superhero movie that wants to be even semi-successful has to on some level examine the nature of heroism. When one doesn’t, which was a big problem in the period between Spider-Man 2 and Iron Man (give or take a Batman Begins), you wind up with something like Catwoman or Elektra or Batman & Robin. Marvel’s pre-Avengers efforts, which I’ve mostly enjoyed, have excelled at asking just why each of their heroes feels the need to suit up and take action. With The Avengers, an even bigger question is posed. Why would such disparate people, each with their own sets of skills, hang-ups, and needs, come together to form a team? Writer-director Joss Whedon, a veritable geek god, is the one tasked with providing the answer to that query, and he does so brilliantly.

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‘The Cabin in the Woods’ Review: Scary Movie

Saying this upfront: NO SPOILERS. Paul and I have also discussed the film on the show.

Stop me if you’ve heard this one before. A bunch of kids pack into an RV for a weekend of fun, sex, and sexy fun. That they encounter the extremely creepy owner of an ancient gas station on the way does nothing to deter them from their destination: a remote cabin in the woods, owned by one of the kids’ cousins. The place immediately seems a little off, there’s some disturbing stuff in the cellar, someone maybe reads Latin, and eventually bloody mayhem ensues. Though they should know better, each one succumbs to some very stupid behavior for which they will be punished.

This is the set-up for dozens, maybe hundreds, of horror movies. The Cabin in the Woods is something different. When we first meet these kids, they seem like lively, intelligent college students. They don’t seem like they would do some of the dumb things they end up doing. Which seems par for the course for this kind of movie, except The Cabin in the Woods dares to offer a justification as to why the victims would seemingly offer themselves up as fodder. There’s more here than meets the eye. Characters played by Richard Jenkins and Bradley Whitford are part of a shadowy organization which makes everything much more complicated. This I guarantee: If you’ve only seen the ads, which paint the movie as your generic Halloween Saw Massacre deal, it is not that. At all.

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Joss Whedon’s Yardstick: Feminism, Humanism, and Xander

I originally posted this on my personal Tumblr, almost word-for-word, last night. Paul was aghast (rightfully so?) that I didn’t use it for the blog. So here we are.

During the Joss Whedon Reddit Q&A yesterday afternoon, one user asked, among other things,

I would love to know anything about your personal motivations for being such a strong feminist, as well as your other positions on atheism, etc. Has being vocal about these positions ever been professionally difficult for you or caused you to lose work?

Joss answered (emphasis mine),

As for my political bent, it comes from how I was raised — and my own very strong sense of being helpless and tiny and terrified (that goes away, right?). The only trouble it’s ever caused me is that once you take a stance as a person, people are always using that as a yardstick in your work, which can be kind of limiting.

I’ve been thinking a fair bit about this lately, especially in terms of Joss’ work, because who am I kidding, that’s all I ever think about. Joss is a known feminist, and since I started watching his shows at the tender young age of 11, his work opened my eyes to a lot of things. After you see the blonde cheerleader walk down the alley and fight back, it’s a lot harder to accept the weak-willed sex objects and victims that populate not just horror, not just genre fiction, but every type of fiction (not to mention advertising). Sexism became a lot easier to recognize, and much more difficult to tolerate, after I started watching Buffy.

As Joss alludes to, though, he is so well-known for his feminism that there are those who measure everything he does by it. I remember one essay in the great collection Finding Serenity which chided Joss for the supposed anti-feminist message of Firefly; I also remember being overjoyed when another essay rebuked it in the following collection, Serenity Found. Firefly was a profoundly humanistic show, one of its best qualities being that it found the strengths and weaknesses in every character, male or female.

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Listen to Episode 83, “Mawwiage”

Gobbledygeek episode 83, “Mawwiage,” is available for listening or download right here.

It’s almost Valentine’s Day, so grab your best guy/gal and settle down for the latest episode of Gobbledygeek, in which the boys discuss how marriage is presented in pop culture. It’s really hard to find a pop marriage that isn’t fundamentally fucked-up in one way or another, but Paul and AJ do their best. On one hand, you’ve got everyone from Firefly‘s Wash and Zoe to The Honeymooners‘ Ralph and Alice, and on the other, you’ve got Breaking Bad‘s Walt and Skyler and The Godfather‘s Michael and Kay. Plus…Paul and AJ get engaged????

Next: the boys tackle Neeson v. Wolves, aka The Grey.

(Show notes for “Mawwiage.”)

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On DVD & Blu-Ray, 6/28/11: ‘Sucker Punch,’ ‘Barney’s Version,’ More

SUCKER PUNCH: Extended Cut (DVD/Blu-ray/Blu-ray, DVD & Digital Combo)

Yep, here it is. This is the film that either destroyed any remnants of geek cred I may ever have had, or proved what a brilliant film viewer I really am. Why, you ask? Because, damn it, I liked this Zack Snyder joint. Ostensibly the story of Baby Doll (Emily Browning), an abused young woman put into an institution by her father and scheduled for a lobotomy, who travels to deeper and deeper levels of consciousness on an anime/video game/comic book-inspired quest to free herself and her fellow inmates. Pretty young things in barely-there clothing battling giant robot samurai, fire-breathing dragons, and steam-powered zombie Nazis. Given only that premise, and taking into account Snyder’s penchant for phantasmagoric, speed-ramped action sequences, this could have been a beautiful but vapid piece of hormone and adrenaline-fueled cinematic trash. But, as I infamously explained here, I believe there is much more to it than that. The Extended Cut features an additional 18 minutes of footage, a picture-in-picture commentary with director Snyder, and has been rated R, up from the theatrical PG-13.  - Paul Smith

(Originally reviewed by Paul, and much less favorably by myself, in “Ladylike.”)

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Top 100 Characters in Modern Pop Culture: #10-1

Last night, Paul and I reached the conclusion of our countdown of the Top 100 Characters in Modern Pop Culture. Here are choice excerpts from our top 10′s, but be sure to listen to the whole show to hear everything we said:

#10

PAUL: Calvin & Hobbes (Calvin & Hobbes)

The series was not only the funniest comic strip of all time (and on this point I will brook no dispute), but it was almost the most philosophical, satirical, and thought-provoking.

AJ: Death (The Sandman)

With the usual concepts and presentations of Death’s visage from Western culture so ingrained in my mind, just the idea that Death didn’t have to be gloomy or terrifying, and instead could be a radiant beacon of hope, felt stunningly fresh and bold to me.

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Top 100 Characters in Modern Pop Culture: #20-11

Last night, Paul and I continued our countdown of the Top 100 Characters in Modern Pop Culture with our penultimate installment, detailing our picks for #20-11. Be sure to listen to the show to hear everything we said, but here are some choice excerpts:

#20

PAUL: Westley/The Man in Black (The Princess Bride)

He bested the greatest swordsman, overpowered a giant, and outwitted a brilliant strategist. And then he got to be the one true love, thought lost at sea, now returned to his princess.

AJ: SS Colonel Hans Landa (Inglourious Basterds)

What makes Landa so terrifying is that he seems entirely bereft of a sense of morality; he manipulates himself into a position of power with whatever group seems to be on the winning side, caring little for past alliances or relationships.

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Top 100 Characters in Modern Pop Culture #30-21

On last night’s show, Paul and I continued our countdown of the Top 100 Characters in Modern Pop Culture with #s 30-21. Be sure to listen to the show for our full run-downs, but here are some choice excerpts:

#30

PAUL: Scott Pilgrim (Scott Pilgrim series)

The series is about Scott growing up, about his evolution, and if you as a reader are patient and invested, it absolutely pays off by the end.

AJ: Norma Desmond (Sunset Blvd.)

Norma is a bizarre, grotesque caricature, wanting to hold a funeral for her pet monkey at the film’s beginning and given to lots of other disturbingly narcissistic actions.

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