"Buffy" itself was raised from the ashes of the eponymous movie, for which Whedon had written the screenplay. In their inscrutable wisdom, network executives decided to air the series out of sequence when it struggled to find an audience, they pulled the plug after eleven episodes.īut, as fans of "Buffy" and "Angel" know, Whedon has a penchant for bringing things back from the dead. (The movie is named for the vessel, which in turn was named for a battle Mal fought in-none of which could be accurately described as "serene.") Created for Fox, "Firefly" was Whedon's first big-network experience ("Buffy" and "Angel" aired on the WB and UPN), and it wasn't a happy one. (Tellingly, the latter is, if anything, more touching.) The two scenes form an apt pair of bookends because, to the extent this can ever be said of a major Hollywood release, Serenity is a product of love-that of fans of "Firefly," the cancelled TV series from which the film was spun off, of the cast, and most of all of Whedon himself.įollowing the successes of his cult hits "Buffy the Vampire Slayer" and "Angel," in 2002 Whedon left the horror-comedy realm to launch "Firefly," a picaresque, Western-themed sci-fi series that followed the interplanetary wanderings of Mal Reynolds (Nathan Fillion), a former soldier in an unsuccessful interplanetary rebellion, and the crew of his ship, Serenity. S erenity, writer/director Joss Whedon's exuberant space opera, opens with one nod to the power of love and closes with another: the first concerns a brother's affection for his sister the second, a captain's for his spaceship.
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