Review: The Name of The Doctor (spoilers and theories not optional)

The season 7 finale contained revelations that audiences were (probably) not expecting.

So begins what is perhaps the longest wait for television fans across the globe. Forget Locutus of Borg’s cliffhanger, that was so twenty years ago (twenty-three to be exact, scary how long ago The Next Generation was, but hey, it’s held up remarkably well).

But let’s take a step back for a minute, and first take a look back at how we got to this point. Series 7 started back last autumn, with the final five outings for the Amy and Rory. With casting often hard to keep secret in this day and age, there was no surprise that they would be leaving, and the announcement that Jenna-Louise Coleman would be replacing them was made before episode one was broadcast. Episode one, better known as Asylum of the Daleks to you and me, didn’t disappoint, as it featured Daleks new and old aplenty (even the special weapons Dalek if you squinted hard enough), a nice reference to the shows history where Daleks who had survived his defeats were kept in intensive care, and Jenna-Louise Coleman popped up as well.

Clara boards the TARDIS earlier than expected?, they’ve kept that hidden from us, well done BBC. Nope, wait. She’s a Dalek. And now she’s dead. Touche Steven Moffat, touche!

This rather unexpected turn of events was kept on the back burner while we enjoyed Amy and Rory’s three penultimate outings before their eventual leaving the TARDIS in The Angels Take Manhattan. A teary affair for many in which, for her final act of onscreen heroism, Amy finally redeems herself by choosing Rory over the Doctor, no going backsies.

Well, narratively anyway, considering whatever was stopping the Doctor from returning was localised only to New York, and both Ponds got rather experienced at travelling across the States in Day of the Moon, but as fun as they were, I can’t argue with the fact their particular stories had been told.

Next came the mid-season Christmas special, and another appearance from Jenna-Lousie Coleman. With the Ponds well and truly departed, it seemed we weren’t going to get any classic series style juxtaposition of companions from different parts of time and space (well, 21st century Britain at least). But we did get Clara back, at least for a while, before she too left us with the mystery of what exactly is going on here?

It has to be said however, Clara’s second death left us with a better beginning for the part two opener The Bells of Saint John. As much as I would have loved a companion that wasn’t from the 21st century (even if she was still from London), the (re)introduction of modern Clara added more mystery to the character that would keep us guessing through the rest of the series, than continuing from where The Snowmen would have left off, would have done.

And whilst I enjoyed the rest of the series, I have to say not as much as I was expecting. Considering it has been eighteen months since the end of season six, you’d think there would have been more time to polish it up a bit. Yes I know they’ve been busy planning for the show 50th in November, but surely the extra effort could have been spread throughout the whole year of the anniversary, not just the day itself. What with writing the BBC’s celebratory drama An Adventure in Space and Time, you’d think that Gatiss could have settled for just the one Doctor Who episode, but instead wrote both Cold War, and The Crimson Horror. Likewise new to Who writer Neil Cross who penned both The Rings of Akhaten and Hide. Protests as to the lack of female writers aside, it has to be said that one benefit the 13 episode seasons have over twentysomething American shows is the extra time they have to get the details right, something negated by having twice as many scripts to complete. The big let downs that got to us though, were the fact that the episodes were given a sense of epic proportions that they just didn’t have.

With such a great title, Journey to the Centre of the TARDIS seemed like it could have been so much more than just running through lots of corridors, and for a Neil Gaiman episode, Nightmare in Silver didn’t seem that nightmarish, but was perhaps aimed more at children scared of being abducted by newer and sleeker cybermen in the middle of the night.

Not that the second half was all bad, there were some interesting stories and great actors, not least in the aformentioned Hide. A genre twisting ghost story which, in true Doctor Who colours, was actually about something else all along, and featured a remarkable performance from Dougray Scott as a charming yet shy ghost hunter. Richard E. Grant, as always, is another great addition to the cast.

Where the series shined though, was in Saturday’s final episode, The Name of the Doctor. With a titillating title that had fans everywhere speculating, it was one that didn’t let down on the hype, and was the best Moffat season finale since he took responsibility for them (perhaps in part due to the fact that it hasn’t been an alternate timeline that gets wiped afterwards anyway). Minor quibbles would be left aside (we haven’t quite known Clara long enough for what seems like such a major part throughout the Doctor’s history) right from the beginning of the episode, and indeed the series, starting as we did on “Gallifrey a very long time ago”. Clara telling William Hartnell himself that he’s making a mistake by stealing the TARDIS was one of the two boldest moves made by the show since it’s return, the second coming right at the end with that introduction.

Perhaps the biggest troll to fans everywhere, but also the biggest relief for many who were dreading the loss of mystery, the Doctor told both Clara and the audience at home that “my name, my real name, that is not the point”. More than just the revelation however, there were also some nice little details, what could have easily been reminiscent of Malkovich Malkovich, the Doctor being inside his own timestream which contained shadowy graves in the background was a nice touch.

Introducing the omninous figure who apparently both is, and isn’t quite the Doctor, show runner Steven Moffat has here made a brave move that unlike his previous “alliance” storyline of every alien race ever joining forces, has to evoke the same sense of awe and anticipation from Doctor Who fans of all ages, new and old fans alike.

Even if you didn’t recognise that deep rich voice declaring that “what I did, I did without choice”, let alone know of his upcoming appearance in the 50th anniversary special, whether your jaw dropped due to the arrival of John Hurt as either actor or character (or both), it was nothing less than spectacular, and will ensure that the internet chat rooms and forums will be bursting with theories and ideas for the next six months.

And so we await the 50th anniversary with perhaps more questions than answers. Although we discovered the answer to Clara’s being impossible, her story can be far from over (I’m still waiting to find out who the woman in the shop was). More than this however, just who is John Hurt??

Adding to his list of iconic science fiction moments that go do in history, he is credited by the BBC as playing the Doctor, despite Matt Smiths insistence that he is isn’t, even though they are both in a place where “there’s only me here, that’s the point”. Only the Doctor, “the one who broke the promise”, and Clara as well actually, but that could be looking too much into it.

So who exactly is he? Fans have already been keen to point several things seen (or not) throughout the episode that may or may not be important. Firsty, despite being referenced previously in the series, Paul McGann’s eighth Doctor was missing from the clips of his past incarnations, although his only on-screen appearance is still stuck in a sticky web of joint ownership with FOX. The fact that Hurt’s costume bears a resemblance to McGann’s newer image for his latest audio releases has also been mentioned.

Was the naming of the Valeyard just something to put an extra smile on the face of classic fans, or was it introducing an older concept that newer fans will need to be aware of in the future? Or is he something new altogether, a missing incarnation made possible by the fact we’ve never actually seen a McGann/Eccleston regeneration??

Over the past several years modern television has come to embrace longer and longer and longer story arcs, something which has made Doctor Who perhaps the last bastion of what is an icon of science fiction and fantastical television, “To Be Continued…”

Taking it to whole new levels however, with no-planets or galaxies in need of rescue, no one on the brink of death, but with the history of a character loved by generations about to be re-written on the eve of his 50th birthday, “To Be Continued … November 23rd” is perhaps the cruelest trick ever to be played on TV audiences, past, present, and probably even future…

Review: ‘Star Trek – Into Darkness’ (spoilers optional)

So, I’ve just got back from the cinema having seen Star Trek Into Darkness. A film I have been waiting a long time to see, a time which seemed to have been made even longer from all the trailers, posters, and clips floating around on the internet. Not to mention a text from a close friend who thought I’d be interested to know about her attending the premiere.

I guess I can forgive her now that I’ve finally seen it myself, but knowing how to describe it, especially without giving away any spoilers, that’s the tricky part….

Blockbusters just can’t help themselves can they.

Firstly, the film does have all the hallmarks of a summer blockbuster, and I have no doubt it will go on to do well at the box office. It has action, explosions, spaceships, even the obligatory scantily clad blonde, although it has to be said we do get to see her intellect as well (I think). Whilst not necessarily a bad thing, the film is also perhaps the single biggest argument for audience reception theory there is, as Trekkies, Newbies, and everyone else in between will have entirely different reactions to what they see on screen.

I chose to see it in 2D, and have to say it’s a gloriously looking film. The flyover of 23rd century metropolitan London is so much something to behold that it’s a scary realisation of what our historic capital could actually look like 200 years from now. The Enterprise is also given some amazing set pieces, and I truly hope that the 3D conversion is done properly, and does them justice.

The actors are also praise worthy, and along with the script each continues to bring these characters loved by generations into the 21st century. Zachary Quinto brings us a more rounded character, particularly as this film again toys with the conflict between Spock’s human and vulcan half, even if his sarcasm may at times be more pointy than his ears. This is compensated somewhat by Karl Urban toning down his DeForrest Kelly possession however, and giving a more natural rather than impressionistic performance.

Despite this however, there are a small number of instances where the film is let down by common sense, at least for established Trek, and has to make way for artistic license. There and back in a day does seem to be pushing it even for warp (let alone the beaming), but having actually thought about Chekov’s red shirt a little more (it was in a trailer, therefore not really a spoiler), it isn’t as out of place in Star Trek common sense as you might think. 

Continuing director J.J. Abrams’ new vision to the screen, Into Darkness has Star Trek running through it like the stick of proverbial rock. So much so in fact, that it makes you wonder how many of those references were included just to show off either the writers own knowledge/research, or how eager they were to make sure they pleased hardcore fans. Let’s just say it’s a long road getting from there, to the Admiral’s desk.

[Like I said, it’s tricky, but I’m still trying my best. If anything is getting too spoilery for you though, now’s the time to press that little x in the corner.]

‘Into Darkness’ continues the logic vs instinct argument central to Spock and Kirk’s relationship.

This is much like the film as a whole, in that rather than seek out new life and new civilisations in a new timeline, Into Darkness does choose to use more than just references to what has come before. Revenge is hardly a new concept to cinematic Star Trek (see The Wrath of Khan, First Contact, Nemesis, and even Star Trek), let alone the whole of the franchise. My review of it’s predecessor tried to list the ways in which it adapted the series it was spun from, but for it’s sequel it seems I should add “Mirror” to that list.

Where Star Trek took the series and gave it a twist, Into Darkness carries this round to a full 180 degrees. Many aspects of Trek are turned on their head, each with varying degrees of success. I have to admit at one point the sight of a Tribble made me facepalm that Picard himself would be proud of, but on the whole, even the sharpest of turns is perhaps only comparable to reading Shakespeare; an academic exercise that conveys interesting and debatable ideas, but doesn’t hit the mark that was intended. Just as Shakespeare wrote plays to be seen performed not read from a page, so too here are several ideas that perhaps may have worked better in speculative transmedia prose than a canonical feature film.

I also have to point out that this review is coming from the mind of an unashamed Trekkie (hence receiving the boasting premiere text), and like I said, everyone will have different opinions. Overall though I would say that it is definitely a film worth seeing, and does have something for everyone. With it’s fiftieth anniversary only three years away or not, I’m sure that there will be another outing for the crew of the Enterprise, but this time I’m be mulling over the most recent release for a bit more time before eagerly awaiting the next.

[Ok, I’m gonna give this a try, for anyone who has already seen it, or just doesn’t care, highlight the rest of this post, to reveal the spoilers in white text.]

So, it seems all those rumours were true after all, Benedict Cumberbatch IS Khan. For those who don’t know, not only was original Spock right, in that he was the meanest, baddest and brightest of the Enterprise’s adversaries, but his place in Star Trek history was assured by the flawless performance of the late Ricardo Montalban, and you can be sure there will be those sending hate mail simply at the idea of his recasting. 

Personally, I have to admit that I too am annoyed that John Harrison’s true identity wasn’t someone else, but for different reasons. As much as I can see what Abrams and co. were thinking, anyone passionate enough would have been following the rumours, and therefore not surprised. Likewise those who weren’t, probably wouldn’t find it that much of a big deal. In fact it’s most likely those occasional audience members somewhere in the middle that get the most out of it. 

‘Revelation’ aside however, the idea of Kirk and Khan fighting shoulder to shoulder was certainly an interesting one given the nature of their previous relationship, but as I mentioned earlier, is possibly one that should have remained speculative rather than canonical.

And the mirror doesn’t just end here. Seriously, anyone who hasn’t already, really needs to go and see Star Trek II: The Wrath of Khan. Carol Marcus, the radiation chamber, almost half the new film seems to copied and pasted from the old

Although Scotty’s sabotage of Starfleet prototypes and miraculous resurrection stem from Star Trek III, I don’t really want to talk about Kirk’s death, let alone his revival.

And as for Spock’s scream. Really?????

Who had a busy weekend(?)

As much as I’ve been busy over the bank holiday weekend, my diary seems nothing compared to that of the Doctor’s. Not content with spreading his schedule throughout time and space, this weekend just gone has been something of a bumper celebration for Doctor Who, past, present and future.

Let’s go through this in a wibbly wobbly timey wimey fashion, and start with what fans had been waiting for; the long awaited beginning/continuation of the new season, and the (re)introduction of Clara/Oswin/Oswald, in an episode that did not disappoint.

‘The Bells of Saint John’ properly introduced Jenna-Louise Coleman’s third (?) character.

Although perhaps a bit too similar to season 4’s opener Partners In Crime (evil business woman leads evil corporation as a front to alien manipulation of contemporary London), The Bells of Saint John was all that you could want in a contemporary-set Who episode; an exciting episode full of danger, one liners, surprise twists, and gave fans more questions than answers (does the Doctor himself not wonder who the “woman in the shop” is?). the end result was only the start of what promises to be a great rest of the season.

Rather than simply review the episode however, (I’d only be quoting the best bits and spoil it for you, so I’ll just say head over to iplayer and watch it here), I’m instead going to talk about how I watched it.

For the first time in too long, I watched this particular episode of Doctor Who amongst a group of friends, all of whom were as equally  as I was. This hasn’t happened since my first stint at uni, and even then possibly not in as big a group as this. Not only do you get to share in the suspense and the laughter with others, but Moffat seems to write new-Who in a way that just can’t be watched on its own. Each of us picked up on a variety of the myriad of details, and were desperate to share our thoughts, theories and questions once it had finished.

This is how I now want to watch all of Doctor Who.

Going back earlier that day however, before people arrived and I had only the internet to share my thoughts with, there was a cast announcement for November’s forthcoming 50th anniversary special. David Tennant fans everywhere delighted at the news he would be back, but speculated as to who he would be playing; regular, or meta Doctor. Billie Piper fans were also delighted at her return, although it’s fair to say a number of Who fans in general weren’t. A group in which I have to say that I am included.

Don’t get me wrong, I thought Piper was fine in her portrayal of Rose, who was also a fantastic character. Admittedly I still haven’t decided whether her stringing Mickey along was worse than Amy’s trying to sleep with the Doctor the night before her wedding (actually, Amy’s decision was worse, Rose was just naive), but my problem is with her return, not Piper or Rose.

Doomsday, the finale of season 2 was a landmark episode. Catherine Tate aside, it not only introduced modern Torchwood, but featured the Daleks and Cybermen in a Monster vs Monster battle that Aliens and Predators could only dream of, and also a companion’s leaving that beats all others hands down in terms of emotional farewells.

Modern companions often have more in common with Ace than is generally realised.

Following on from Sylvester McCoy and Sophie Aldred’s Ace, those who travel with the Doctor in New-Who have generally been more than just companions, each having a specific relationship with the Doctor, and experiencing a personal journey as much as an intergalactic one. It is because of this relationship that, worse than Adric dying without ever knowing if he was right, Rose was abandoned, forced to live without the Doctor, and knowing how he felt about her. He was never even able to finish his sentence. As I said, an emotional farewell.

A farewell that was ruined two years later in season 4, by the only possible thing that could ruin the emotional moment of knowing they’ll never see each other again: them seeing each other again. Needless to say, I’m hoping Billie Piper’s 50th return is more The End Of Time than Journey’s End.

One piece of casting that cheered me up immensely after this news however, was that the 50th anniversary would also star British acting legend himself, John Hurt. Like Derek Jacobi, Ian McKellen, and David Warner who will appear later on in this current season, Hurt is the latest in a line of veteran (no, I don’t just mean old) actors to grace the show with not just their presence and reputation, but also immense talent. No stranger to sci-fi, having previously appeared in the scene in Alien, V for Vendetta, and everything in between, the association of Hurt’s name with Doctor Who is even more exciting than that of Peter Jackson’s, and most fans seem to be in agreement that no one more fitting could have been cast in the shows 50th anniversary.

Cut again to some time later, and the internet was ablast with snippets of a photographic nature. First came two pics of Tennant and Matt Smith (and the tip of a Dalek Gunstick?) together at the scripts read through, and once those had gone viral, the BBC also tweeted an image of a 21st century Zygon, complete with #DoctoWho50th hashtag.

But while fans are eagerly awaiting for November’s celebrations to grace their screens, showrunner Steven Moffat is no doubt waiting for September, and the announcement of who has won the prestigious Hugo Awards. Celebrating the best in last years sci-fi & fantasy, and with a shortlist of just five TV episodes in the running for Best Dramatic Presentation, Short Form category, three of last years episodes, Asylum of the Daleks, The Angels take Manhattan, and The Snowmen, have been nominated.

Richard Coyle’s Jeff constantly had the best lines in Moffat’s earlier ‘Coupling’

Yes, not only is he celebrating as Doctor Who showrunner, but those three episodes were written by Steven ‘Juggernaut’ Moffat himself as a writer. The writer who ten years ago was entertaining TV viewers with Jeffrey Murdock and the Visual Access Angle, is this year celebrating the fact that his stories alone have earned a total of eleven nominations in only eight years, and is no doubt hoping for his fifth win.

Between writing and helming the 50th anniversary episode, working with John Hurt, and adding “buy bigger display cabinet?” to his to-do list, it would seem that 2013 is already a fantastic year for Doctor Who, and Moffat truly has the key to the gates of paradise, regardless of having too many legs.

State of the Geek?

For the past several years, Felicia Day is someone who has become almost synonymous with the term “Geek”. As an actress in LA she has made guest appearances in TV shows from Lie To Me, to House, and is a certified Joss Whedon alumnus having appeared in three of his various series. During this time she has also written, produced, and acted in her own web-series The Guild, and last year founded the internet channel, Geek & Sundry.

Earlier this week she released a youtube video announcing that this would be returning for a second year, and also talks about a subject that is important to her, her audience, and myself.

What is it to be a “Geek”?

If for any reason you can’t/won’t watch the video, I’ve transcribed the important bits for you here:

In the six years I have been doing this, that word has become something else. We’ve been using it so much that it’s kind of lost meaning. Geek has become a cliche. It’s become a label. It’s become something to monetize, to market to, to pigeonhole, to brand, to exploit. It’s become something that describes a person who is defined solely by liking comics, or games, or movies, or TV, and it’s like we’ve become these consumer badgers that will eat anything you can put a zombie or a superhero on, and just like STOP! Just stop. That is not what Geek means to me.

We are more than the hobbies that we do, or the things that we like. We are not mash up t-shirts, don’t get me wrong I love a good mash up t-shirt, but that is just like the superficial stuff. To me, Geek means an outsider, a rebel, a dreamer, a creator, whether it’s our own world or someone else’s. It’s a fighter. It’s a person who dares to love something that isn’t conventional.

The mantra of Geek to me, is “your judgement is not my problem”. You think comics are dumb? Fine. You think I may not be a real gamer? Whatever, that’s your problem.

I think we need to re-own Geek.

In the ten years since her recurring role as a potential in Buffy the Vampire Slayer, Felicia Day has gone on to slay numerous outmoded stereotypes and gender roles. In a world where female gamers (especially attractive ones) are thought to be either non-existent or should be looked down upon, she has been a role model of campaigning for Geek acceptance just by getting out there and doing her own thing.

Although I discussed their/our representation in films from Scream to Fanboys for my MA dissertation (albeit using the more academic term of “fans”), like too many others, Geek is a word that I take for granted in order to describe myself, my friends, and the things we enjoy. 

The origins of the word itself, stem from 18th century circuses, referring to the freaks in a sideshow. Whilst it’s safe to say that this is no longer strictly true, its connotations have remained for a long time, and it seems like only recently that its use is becoming less disparaging.

Also throughout these past ten years, more and more aspects of what would previously have been labelled as Geek culture have made it to the mainstream. Perhaps it was my growing up in rural Britain, but back when Felicia was known as Vi, names like Joss Whedon and The Avengers would have had most people I know either scratching their heads, or thinking of 60’s spies. This last summer however, Marvel’s heroes’ and their writer/director’s were the most talked about throughout the entertainment world.

Not that I am begrudging them their popularity, Whedon is an accomplished film-maker who deserves to have his work seen by a wider audience (allowing me to boast that I was a fan before it was cool), it seems to me there is a difference between Geek becoming accepted, and appropriated.

In fact it seems that like Che Guevara before it, Geek culture is now seen by many to be less rebellious and more fashion statement, often referred to as “Geek chic”.

Once the image of an ostracised Geek, “thick lenses in black framed eyeglasses – he wears a Ramones T-shirt” is now seen as fashionable.

More than just an overall fashion it seems that specific icons of Geek fandom, even the punk band The Ramones have also suffered this fate. Likely due to their retro punk image, but also perhaps in part due to their endorsement by conspiracy theorist Richard “Ringo” Langley on the sci-fi/horror series The X Files. 

Comparable to Day’s Geek mantra, Langly admired lead singer Joey for sticking to his punk principles and the fact that “He never gave in, he never gave up, and he never sold out, right up to his last breath.” (It is also worth noting he voiced his praise in an episode called Jump The Shark.)

In recent years however, and after the death of not just Joey but also two other original band members, Dee Dee and Johnny, t-shirts and bags embellishing their logo have become an increasingly common sight. 

Combining mainstream appeal with a cult fanbase, it is not surprising that crossover TV shows such as The X Files may have been the first port of call for those first wishing to adopt aspects of what used to be a niche appeal.

And this is something that annoys me. On the other side to Felicia’s argument, the main problem I see isn’t what being a Geek is, it’s what being a Geek isn’t.

Although I don’t solely define myself through them, I enjoy films and TV shows, and that’s why I studied them at university, it’s why I collect VHS tapes, and it’s why I edit wikias. Admittedly I don’t shout about those last two from the rooftops, and maybe sometimes I haven’t always stood up for them as much as I should (sorry Felicia), but those are just some of the reasons I use the word Geek to describe myself.

Perhaps almost conversely, I chose the name i, Coomber as a reference to Asimov’s i, Robot, and if you think the shortened use of iCoomber is because I’m an apple fanboy rather than the internet not liking commas and spaces, then, like Day says “that’s your problem”.

But when I see “fashionable” girls walking through the high street with a jumper saying “Geek”, I want to ask them how they feel about the differences between old school and new Battlestar Galactica, before berating them for not even knowing what I’m talking about, let alone not having an answer. Again, as Day says, knowledge of cylons and vipers isn’t a prerequisite to use this term, and I admit there is a certain amount of irony that they will likely consider my prejudice to not be their problem, but do these factors still make them a Geek as well?

I agree with Felicia that it is something we need to re-own, but knowing how to go about it may take more thought than a single youtube message. How do we rebel considering that many of the symbols of our rebelling against the conventional, have themselves become usurped as an adopted convention?

For those of us with genuine interests, not caring about people’s prejudices and not subscribing to corporate labels is one thing, but I believe that these are not the people we need to re-own Geek from. 

I now wear my Soylent Green t-shirt as much for its warning about industrialised processes creating products not for, but from people, as much as because I enjoy the 70’s classic. I do so because I walk past too many others wearing a Ramones t-shirt that have never heard their music, let alone embody a spirit of being a rebel, an outsider, or a fighter, and so I have to ask.

Is that “not my problem” too?

Why ‘Firefly’ shouldn’t be given a kickstarter back onto our screens.

One of the most talked about things that happened in Geek/Film/Internet news this past week, is that a Veronica Mars spin-off film has been greenlit, based on fan reactions (and donations) to a crowd-sourcing project started by the TV show’s creator Rob Thomas.

Although hardly the first film to get started this way, it is by far the most well known, which is probably the most important factor for it breaking the record to be the fastest $1m dollar earner, which it achieved in less than five hours. Because of this, it is not unexpected that people have started to look at it with some suspicion, if not doubt. Will the fans get anything extra in return for their investment, or is their devotion just being exploited?

The feature film ‘Serenity’ was unprecedented in its creation from a cancelled TV series.

It is also hardly surprising that fans of other cancelled TV series and movie franchises are also wondering what it could mean for the objects of their own affection, none more so than the so called ‘Browncoats’: Fans of the TV series Firefly, who have taken their name from the Independents of the series, a passionate army fighting against the all powerful Alliance.

As I have mentioned in a previous post, Firefly was an extremely short series which, thanks to the tenacity of creator Joss Whedon and the devotion of fans, was picked up by Universal Studios, and the feature film Serenity was born.

Somehow Firefly had done the impossible. There are whole numbers of long lived series that can only dream of making it to the big screen, and Firefly had done it after just fourteen episodes? Fourteen episodes that FOX hadn’t even broadcast in the right order, three not even at all during its initial run. Serenity was a massive success in just getting made, but was only less than mildly successful at the box office.

Whilst fans went to see it in their droves, the general audience went there only generally. Despite the Hugo for Best Dramatic Presentation (Long Form) being just one of the many awards it received, not to mention reaching the #2 spot at its opening weekend at the box office, the film wasn’t all that Universal had been hoping for.

Like the series that preceded it, it was DVD sales that would be its economic lifeline, but they were still not enough to greenlight even a TV movie, let alone the two cinematic sequels to complete the “Big Damn Trilogy” fans were hoping for. Serenity was made back in 2005, Firefly was first (partially) broadcast and cancelled in December ’02, and only the small number of comic book mini-series and one-shots that have been published is all that the Browncoats have heard from the Firefly ‘verse in all this time.

Needless to say, Veronica Mars‘ latest news has reignited the spark of hope in fans’ hearts (if it ever went out to begin with), and Whedon has already been interviewed for his take on what it means for the future of the ‘verse:

“I’ve said repeatedly that I would love to make another movie with these guys, and that remains the case. It also remains the case that I’m booked up by Marvel for the next three years, and that I haven’t even been able to get Dr. Horrible 2 off the ground because of that. So I don’t even entertain the notion of entertaining the notion of doing this, and won’t. Couple years from now, when Nathan [Fillion]’s no longer [on] Castle and I’m no longer the Tom Hagen of the Marvel Universe and making a giant movie, we might look and see where the market is then.”

As one fan put it, “Drat. More “maybe eventually”s.”

Needless to say, fans’ hopes and expectations are a constant up and down, hanging on to anything Whedon and the rest of the cast and crew have to say on the matter. Speaking as a fan myself, I have to say that, in my opinion at least, Firefly is dead. And it should stay that way.

For those of you who haven’t left in disgust, I’ll explain why.

As I mentioned, the series was cancelled ten years ago. I don’t know if anyone else has ever seen a film based on a series that’s been gone for ten years, but I have, and I didn’t find Star Trek: The Motion Picture that interesting.

[Dammit, Twitter has just directed me to Jane Nelson’s blog on SFX.co.uk, where she’s saying exactly the same thing. Whilst she’s talking about a variety of shows though, allow me to carry on with Firefly in more detail].

Looking at this properly (and in more detail than Nelson), Whedon is busy for at least the next three years, and even then it seems as though Dr. Horrible 2 gets first dibs on his constantly busy schedule. In her blog Nelson says many fans think Whedon should hand over the reigns to someone else, but a Whedon-less project also has the potential to anger as many fans as the initial cancellation. Assuming fans would compromise with someone else producing and directing a Whedon written script, he still wouldn’t have time to do even that.

Also, there was speculation of the sequel to Dr Horrible’s Sing-Along Blog, Whedon’s online project during the Film & TV writers’ strike, being a feature film even before Whedon was attached to the Avengers. There were also reports of the story outline and even songs, had already been written. If we were to assume the already in the works Avengers 2 makes it to screens in the Summer of 2015 (which is pushing it), and the Doctor Horrible 2 script already to go, the very earliest it could be released is Christmas ’15.

Bear in mind this is taking Whedon’s ability to juggle projects to max, and assuming there are no other problems in Neil Patrick Harris, Nathan Fillion, (and Felicia Day?) finding room in their busy schedules. Very (very very) vaguely possible, but still highly unlikely. If (again, very big if) this happened, the earliest we could expect Serenity 2 is Christmas 2016. With his own passion for the project it is not something that Whedon would allow to be rushed, just the knowledge of knowing it was being made would placate fans enough for it to be given the time it would need, and I doubt Universal would give it priority in their summer blockbuster schedule anyway.

So, Christmas 2016 it is. (Very big if.)

Remember how I said Firefly was cancelled in December ’02? That’s fourteen years difference. As Nelson (damn you and your being paid to write!) points out, that’s a big difference. Too much of a difference to pick up where they last left off, and no-one wants to see them still in the same place. When you consider the character of River Tam was 17 years old, she’d now be 31. Hardly the crazy and mischievous teenager she once was, the fact that actress Jewel Staite was even younger only complicates things further.

‘Star Trek: The Motion Picture’ was released ten years after ‘Star Trek’ was cancelled.

But rather than carrying on the hypothetical situations, lets go back to that comparable TV/Film series, Star Trek. Like Firefly, Star Trek was unappreciated in it’s own time, and much like Serenity, a fan campaign was needed for season 3 to be commissioned, when NBC cancelled it after only two. It was during syndication that it achieved the major popularity it is recognised for today, but with people finding it only after it had been cancelled, again the only ‘official’ stories were hand drawn, with Star Trek: The Animated Series producing 22 episodes in 1973-74. The Motion Picture was finally released in ’79, ten years after season 3 originally aired. What started as the pilot episode to what would have been Star Trek: Phase II, it was a massive hit with fans, but only mildly popular with the critics.

Looking back it isn’t exactly seen as one of the best Trek films, and it’s sequel The Wrath of Khan performed so well thanks in part to the replacement of Gene Roddenberry with a newer, and more objective creative team. Headed by producer Harvey Bennett, together they had the insight to acknowledge the character’s age, putting fearless Captain (now Admiral) Kirk in the middle of a mid-life crisis. Whilst fans would find this a not only plausible but also hilarious situation for Captain Malcolm Reynolds, by now he would surely have been pushed beyond the raggedy edge, and his crew scattered to all corners of the ‘verse. And it’s not as though it could have an emotional/unexpected Spock style death to end on a (dramatic) high with either, thanks to both Book and Wash having already suffered that fate. Yet another obstacle for new Firefly projects to overcome.

This ousting of Roddenberry to the role of “consultant” in the first place wouldn’t have been sacrilegious to the fans, even if it was disappointing. Despite being the shows creator, Roddenberry himself jumped ship during the show’s third season and remained executive producer in name only. As a TV show its three seasons were crafted by a range of extra writers brought in, Whedon’s Buffy The Vampire Slayer and Angel also worked this way like nearly all US shows, but Firefly was never given the chance. The creative team was kept to a core of only a few members, and as mentioned before, any Whedonless project could split fandom wide open in a manner not seen since The Phantom Menace. A film which itself is a warning to leave the long gone, well alone.

Actors and characters aside, it’s also the audience who have grown. Whilst I was aware of it when it was released, I didn’t see Serenity until a screening at my University’s Students Union. This would have been around the time of the DVD’s European release, and I got into Firefly from that. I’ll admit I was late to the party (sorry!), but there is now a whole generation younger than me who are even later. Despite DVD and now Blu-ray keeping the series alive for new audiences to find all the time, it’s fair to say that the majority of people younger than me are too young to remember it first time round, even if it isn’t their fault.

Even as a film student, Serenity is the best example that I can think of, of exposition aimed at audience members that are both new, through to those with encyclopedic levels of knowledgeable, simultaneously. In today’s climate of ever increasing, and attention seeking, media, relying only on word of mouth (and blogs) will never be enough to keep up, and many of today’s teenagers simply won’t be interested in something that’s ten years old. I can’t even imagine 2016’s teenagers being even remotely interested in something that would be older than they are. Between many older fans’ incessant expectations, and newer audiences’ ambivalence, the stakes just seem to high to live up to.

So what about Serenity: The Next Generation? Despite featuring only one solar system compared to Star Trek‘s entire galaxy, there is still a whole host of other ships and crews out there, many in similar situations. What about a fresh start for the ‘verse  featuring one of those?

For a start, the actual Next Generation is more than just what Phase II would have been, and Decker/Riker & Ilia/Troi aside, the differences outweigh the similarities. Not only is the whole show is set in the next century, there’s even a Klingon on the starboard bridge console! While retaining the same exploratory spirit of the original, it’s more than just another crew on another ship, because it needed to be something different. Although Data is not so far removed from Spock (the two of whom finally meet in Unification part II, a conversation which doesn’t disappoint), there is a difference between the same roles and same characters. Picard may hold the same rank as Kirk, but has a far more diplomatic way of going about it.

The fan-film ‘Browncoats: Redemption’ “Project has ended & the DVD/Bluray is no longer available.”

This different crew approach was when the 2010 crowd sourced fan-film Browncoats: Redemption was released, which featured a cameo from Adam Baldwin and reportedly received a “blessing” from Whedon himself. Although the project has raised money for many different charities and is given respect for the undertaking involved, it hardly filled the gap many fans still felt was missing in their lives.

Unlike in any Star Trek, the mercenary crew of Serenity are so much more than a militaristic unit, and it is the characters and relationships that made Firefly what it is. Just as any ‘reunion’ movie wouldn’t likely work for the reasons outlined above, Redemption was criticised by some fans for trying too hard and following the original too closely. This is an obstacle that even a new Whedon created crew would also have to tackle, and anything too different seems almost beyond waiting for.

By 2016 I’m sure Whedon’s clout in Hollywood would be enough for those writing the cheques to greenlight anything he wants. As much as passion is needed to create a film that works, rather than creating a film because “If I don’t, it’s the only thing I’m ever going to be asked ever by anyone“, I believe fans should instead be asking for original stories in new universes. Whilst I’m sure the above quote was said with the zany sarcasm present in most of Joss Whedon’s interviews, he has a very real point.

Yes I would have loved Firefly to have continued rather than be cancelled, and by all means please do give us more comics. But by now the on-screen adventures of Serenity and her crew are long gone, and any continued efforts to bring them back just seem like flogging a horse that is dead as Browncoats’ hope should be. Like so many others, as a huge fan of Whedon’s, I continually can’t wait for his next projects. The general release of Much Ado About Nothing can’t come soon enough, I’m sure The Avengers 2 will be just as breathtaking as the first, and I can’t wait to see Doctor Horrible again, but original or not, these are all projects that Whedon and co. have already started working on.

While too many Browncoats are waiting impatiently for the box office success of Veronica Mars: The Movie to bring their dream that one step closer, my time will be better spent specualting on something else.

Whedon is not just a writer, he is a creator. Thanks to the fruits of his creative genius, a teenage girl not only saved the world several times over, but reshaped the landscape of American TV while she was doing it. A crew of mercenaries instilled so much passion in fans that they actually achieved their goal of getting a feature film produced from a TV series cancelled during its first season.

 These are feats that are unprecedented, and cannot be overstated enough. And I for one am eager to know what game changing universe Joss Whedon will create next.