Bounty Hunters and Space Cowboys: Comparing Killjoys and Firefly

Killjoys and Firefly entered my repository of favourite TV shows in much the same manner. In both cases, I saw a few posters and heard snippets of plot. Judging from this incontrovertible evidence, I dismissed both shows—who had ever heard of a space cowboy anyway?

In both cases, however, I ended up grudgingly watching a mid-season episode at the behest of family members. I immediately realized the error of my ways, and feverishly watched the entirety of the first season.

Though I greatly enjoyed Killjoys, I couldn’t help noticing that my introduction to the series was not the only thing tying it to Firefly. Airing just over a decade after the unfortunate demise of the Joss Whedon classic, Killjoys shares many of Firefly’s characteristics. The premises are generally convergent—both follow a small cast of mercenary characters who take on any and all jobs (provided they’re paid well), up to and including smuggling bobble head geisha dolls.

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Mal arguing with Inara, Firefly

Both also make use of a space western vibe, featuring settings such as arid locales, small run-down bars that have hints of futuristic technology, and rural communities on backwater worlds. They have a similar political dynamic—a large interplanetary government oppresses and mistreats its rebellious citizens and colonists  (The Company and The Alliance).

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The Company, Killjoys The Alliance, Firefly

There is also a marked economic dichotomy between the citizens of rich, central worlds and the pioneer-like border worlds where the crew spends most of their time. With a few exceptions, both shows feature a very similar cast of characters. Because Killjoys has a smaller central cast, some its characters encapsulate more than one of the roles taken up by characters from Firefly.

There’s the unorthodox gunslinger captain with a traumatic past (Dutch and Mal).

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Dutch, Killjoys

Mal, Firefly

The loveable mechanic who can fix most anything (Johnny and Kaylee).

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Johnny, Killjoys

Kaylee, Firefly

The less intellectually-endowed soldier type (D’avin and Jayne).

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D’avin, Killjoys

Jayne, Firefly

There’s a character who has been neurologically altered by a shadowy government agency to be a nearly invincible killing machine when cued (D’avin and River).

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D’avin, Killjoys

River, Firefly

The humanized sex worker (N’oa and Inara).

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N’oa, Killjoys

Inara, Firefly

The devout priest who’s more than he seems (Alvis and Book).

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Alvis, Killjoys

Shepherd Book, Firefly

There’s the doctor who gave up a cushy life on a rich world (Pawter and Simon).

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Pawter, Killjoys

Simon, Firefly

The female action hero (Dutch and Zoe).

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Dutch, Killjoys

Zoe, Firefly

And lastly there’s the covert assassin who likes stabbing people and is a little bit weird (Khylen and Early).

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Khylen, Killjoys

Early, Firefly

Even some of the episode plots are congruent. This is especially remarkable because there were only fourteen Firefly episodes and Killjoys’s first season contained only ten episodes. Both feature episodes where the heroes are hired to protect a pregnant woman and her companions, who are looked upon unfavourably by their respective societies (a safe house of surrogates in Killjoys and a group of sex workers in Firefly). These companions turn out to be more capable of handling their own defense than either crew anticipated.

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Episode: “Vessel,” Killjoys

Episode: “Heart of Gold,” Firefly

There’s also the episode wherein the crew attempts a salvage mission on what appears to be an empty transport, only to encounter a gruesome surprise (“A Glitch in the System” and “Bushwhacked”).

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Episode: “A Glitch in the System,” Killjoys

Episode: “Bushwhacked,” Firefly

However, Killjoys and Firefly differ in one rather important aspect. Firefly was cancelled after less than a season, spawning a legion of disaffected fans. Killjoys, on the other hand, has been renewed for a second season. Both shows did not garner very impressive viewership numbers in their first seasons—Firefly, in fact, had a larger average audience by a significant margin. Given the shows’ multitude of similarities, the obvious question is, why has Killjoys been more successful?

The channels on which the series aired may have something to do with it. Firefly aired on the more mainstream Fox, while Killjoys plays on sci-fi specialist Space, which would (you’d assume) be mainly the domain of viewers who enjoy series such as Killjoys. Further, since Space does not depend on ads for revenue, lower viewership numbers are less of a problem. However, I think there are deeper reasons for the difference in success. Despite their similarities, Firefly and Killjoys differ in tone and in the relative importance of their characters to the world they inhabit.

Though the main cast of Killjoys is often shown as being at the mercy of the higher ups of both their own bounty hunter organization, the Reclamation Agency Coalition (RAC), and the ominous anonymity of the Company, they also often wield a surprising amount of power. Dutch is easily able to negotiate a cancellation of the Company’s kill warrant for D’avin; she is also cleared of a number of charges on multiple occasions by both superiors at the RAC and a member of the Nine (the conglomerate of families which rule the central world, Q’resh) with whom she is in frequent contact. Dutch (and later D’avin) are also later marked out for a special RAC program involving human enhancement techniques.

The crew of Firefly’s Serenity, by comparison, were called “a bunch of nobodies” who are “squashed by policy” by managers at Fox. This was intentional—using the US’s civil war as a model, Joss Whedon constructed the crew to be a relic of a vast galactic civil war, wherein the Browncoats (synonymous with the grey uniformed Southerners of the American Civil War) were routed by the Alliance. This arrangement allowed the show to examine the psychological effects of the end of such a war upon the members of the losing side, and their subsequent search for new lives in their changed world. Given their defeated status, the cast has very little political pull (the latter events of the movie Serenity aside); the plot frequently revolves around the crew slipping through Alliance patrols, with the understanding that capture would lead to inescapable imprisonment.

The economic and legal status of the crews in both series are also at odds—every main character in Firefly (with the possible exception of Inara) is either dead-broke or wanted (as well as broke). The crew of the Serenity are also acknowledged criminals. Though they take on some legal employment, the vast majority of their jobs involve illegal activity. The threat of bankruptcy grounding the Serenity is constant (the fact that one episode is entitled “Out of Gas” is rather telling).

The Killjoys, in contrast, though complicit in some illegal activity, are legal employees of the RAC. According to Johnny and Dutch, Killjoys are paid quite well, and have relatively comfortable lifestyles when compared to the average citizen of the Quad.

These differences also manifest in the shows’ tones and central problems. Killjoys is generally a light, sci-fi action show. Though most episodes are loosely centered around a particular warrant, Dutch’s relationship to powerful and shadowy forces that are seeking to control the Quad underlies many of the events of the series. Dutch and her crew are involved in important events that alter the future of the entire system (e.g. the assassination of one of the Nine families and the bombing of Oldtown) and are presumed to play an important role in the political future of the Quad.

Firefly, though frequently comedic, has a darker tone (this was, if you’re wondering, also something Fox had a problem with—the network pressured Joss Whedon to make Mal “more jolly”). The crew’s main problems are related to money and/or personal, small-scale problems. Though Mal and company can be said to have altered the future of their galaxy in the Serenity movie, their potential for causing radical change is non-existent—the Alliance’s control is absolute—and they are generally uninvolved with larger political issues.

Overall, these differences are responsible for the success of Killjoys and the cancellation of Firefly. At least in the boardroom, Killjoys is a less risky, more mainstream type of show. Though it occasionally deals with contemporary issues (e.g. environmental damage and drug use), it is generally filled with mindless action, predictable plot sequences, and idealized characters who have secretly been groomed for a leadership role. Firefly deviated from this traditional structure to focus on unusual content (rebels who lost their cause and have no ability to nor intention of renewing the fight). Everything that made it one the best television shows of all time—everyday problems and ordinary characters who lack the predestination common in many speculative shows—made it unpalatable to the Fox brass.

-Contributed by Christopher Boccia

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Scott Lynch’s The Thorn of Emberlain Slated for Release in September

A mostly official release date has been set for the fourth book in Scott Lynch’s critically acclaimed The Gentleman Bastard Sequence. Note the ‘mostly’ in that sentence—Lynch’s publisher, Gollancz, has posted supposedly accurate release dates before.

The first was in an interview which suggested that The Thorn of Emberlain (ToE) was in an advanced stage of editing and would be out in the fall of 2014, barely a year after the publication of the third book in the series. No one really believed this (as the gap between the second and third books was an agonizing six years), and 2014 ended without a hint of a Gentleman Bastard publication. Gollancz next stated that the book would come out in July of 2015. This seemed more plausible, and there was a release of cover art to bolster fan excitement. This date, however, also turned out to be false (which I discovered to my dismay, since the posting of this article was supposed to be timed appropriately to a July release). Despite Gollancz’s habit of tugging on fans’ heartstrings, the new release date (September 17, 2015) seems to be solid (especially since it has an actual day attached to it, rather than just a month).

I was first introduced to The Gentleman Bastard Sequence by a family member, who insisted that I would like it. I had, at the time, just finished reading Dostoevsky’s The Brothers Karamazov, and was highly skeptical that any fantasy book could follow in the wake of that literary masterpiece without being a disappointment. Nevertheless, I cracked open the first book, entitled The Lies of Locke Lamora. My inner literary snob was immediately dismayed by names like ‘Thiefmaker’ and ‘One-eyed Priest’, which sounded like they had been dredged up from a mediocre D&D game. How, I thought, could this book possibly be good? However, I decided to give it a chance and read onwards.

I was only capable of independent thought a few hours later, sometime past midnight. I had devoured three-quarters of the book, and realized the error of my ways. Scott Lynch had already climbed his way into my shortlist of favourite fantasy authors, and his books have only gotten better since the first. Each one is beautifully crafted—the interweaving of the present and past storylines makes for powerful characterization and moments of symmetry that leave one, as a writer, sighing in despair for not being as good at their craft as Scott Lynch.

Here are a few tidbits about what we can expect in The Thorn of Emberlain (note: Beware of small spoilers if you haven’t yet read the preceding book, The Republic of Thieves).

There is no reason to suspect that Lynch will deviate from his twinned storyline pattern (no complaints here!) in this book.

When a fan asked Lynch if Locke’s on-again off-again love interest Sabetha would be making a reappearance later in the series, Lynch responded with “Hell, yes!”. It’s thus possible that we could see Sabetha in ToE. However, we will likely only see her in the flashback timeline, as she and Locke parted in The Republic of Thieves under less than ideal circumstances.

In ToE, protagonists Locke and Jean will explore the Kingdom of the Seven Marrows (new territory), specifically the canton of Emberlain, which has declared its independence from the rest of the kingdom amid a nasty civil war. Locke and Jean are apparently going to be playing a confidence game involving a fictional mercenary company. Given how fantastically wrong their plans often go, and Locke’s lack of fighting ability, this should be spectacularly entertaining.

If you’ve read this piece, I assume you’d be interested in reading the next book in the series…

Due to an agreement with Lynch’s publishing house (and, if I may be permitted a small immodesty, my own critical reputation) I have been given a number of advanced reading copies of the upcoming fourth book in the series to distribute as I please to reviewers. Given how highly The Thorn of Emberlain is anticipated, I should be able to turn quite a profit.

Since you seem to be such an avid fan, I would love to give you one. There’s only one slight problem—because of a hiccup in international copyright laws, Scott’s publisher cannot ship me the books, which are currently languishing in a Wisconsin warehouse. Being a relatively impoverished student, I don’t have the money for airfare—but, if you’re interested, I have a proposition that could be of mutual benefit to both of us. If you help me get to New Richmond to pick up the books, I’ll give you a free copy, reimburse you, and give you 25% of the proceeds from my salesmanship.

What do you say?

If, by this point and after reading these books, you’re not suspicious and ready to refuse me politely but firmly, you should also consider helping out a friend of mine. Upstanding fellow—a prince in a spot of political trouble…

-Contributed by Chris Boccia