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Joel Barnes
University of Melbourne
Five hundred years in the future, humanity has left earth and expanded into a new solar system. New planets have been terraformed and colonised. Life at the centre of this system is luxurious, sophisticated, civilised. On the outer fringes, existence is more precarious, eking out a living a more dangerous game. This is the world of Joss Whedon’s regrettably short-lived television series Firefly (2002) and its feature film follow-up Serenity (2005). Both follow the rag-tag crew of the spaceship Serenity, led by captain Mal Reynolds (Nathan Fillion), as they struggle to make ends meet by means legal and otherwise on the rough outer edges of this fictional universe, known in the show’s jargon as “the Verse.”
The Verse is cast in the mode of not one but two genres—the space opera and the western—that dramatise life on the frontier, and much of its humour and interest lies in the productive tension between their respective visions of that setting. According to Whedon, Firefly’s genesis lay in his reading of The Killer Angels (1974), Michael Shaara’s historical novel about the Battle of Gettysburg. He afterwards became “obsessed with the idea of life on the frontier, and that of course [made him] think of the Millennium Falcon.”[1] In imagining the space opera as an adapted western that shifted nineteenth-century imperial tropes into an extraterrestrial future, Whedon was merely making explicit long-standing undercurrents within the genre. (Gene Roddenberry’s working title for Star Trek—a constant intertextual counterpoint in Firefly—had been Wagon Train to the Stars.[2] Its trademark incantation of “space, the final frontier” was not incidental.) [continue reading]
On April 9, 1994, the cover of the Spectator boasted a colourful cartoon that depicted Winston Churchill sticking up two fingers to a boatload of Caribbean migrants – “the Windrush generation”, as we would now call them. Inside was an article by Andrew Roberts (who had previously made a name for himself as a biographer of Lord Halifax) which labelled Churchill as an ideological racist. “For all his public pronouncements on ‘The Brotherhood of Man’ he was an unrepentant white – not to say Anglo-Saxon – supremacist”, Roberts wrote. Moreover, “for Churchill, negroes were ‘niggers’ or ‘blackamoors’, Arabs were ‘worthless’, Chinese were ‘chinks’ or ‘pigtails’, and other black races were ‘baboons’ or ‘Hottentots’.”
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