FIREFLY EPISODE DISCUSSIONS

Scenes that have you in awe

POSTED BY: MERRYK
UPDATED: Sunday, November 30, 2008 11:34
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Friday, November 9, 2007 8:39 PM

MERRYK


I was just watching the episode Safe again, and I got to the scene where River dances with the peasants. I realized that every time I see that scene, I am overcome with emotion because of how well done it is. This is a scene that shows what filmmaking can be. There are no lines, no special effects, nothing but acting and music...and yet so much is laden there.

First of all is the acting...Summer and Sean are so perfect here, you know exactly what they are thinking without any words. You can see Simon's worry as River is eyeing the dance with concentration, wondering if she's going to randomly break down. You see River, at first overcome with logically examining the scene, marking the steps of the dance. And then suddenly, she leaves the crazy genius part of her behind and a rush of joy floods her face as she begins to dance. Simon's face lights up, a huge grin on his face as he watches her enjoy herself for the first time in a while. We don't need to be told that River's a genius—she picks up the dance in half a minute. We don't need to be told she used to love to dance—it's obvious by the joy on her face. We don't need to be told that Simon dearly loves her—he only smiles when she's happy. And all of it is accented by the music, a simple folk tune at first, which swells with emotion as River begins to dance. And then the editing with Mal and co. in the middle of a gunfight, perfectly blended with the lighthearted dance.

In a book, this scene would have taken pages of explanation and exposition, and it would need an incredible writer to capture such strong emotion with words alone. I cannot watch this scene as if it's part of the episode...I'll always see it as a perfect piece of artwork.

And then there's that scene in the Train Job, when Serenity zooms up into camera for the first time...my jaw drops and I nearly drool every time I see that.

But I won't ramble any further. It's your turn now.

I'm not looking for favorite scenes here—I really like this scene apart from how it was filmed, but I wouldn't say it's my favorite—but for scenes that you have to admire for the craft behind it. Scenes that are so well shot, acted, and scored that you can't just see them as carrying the story along.

--
"My way of being polite, or however...well, it's the only way I have of showing you that I like you. Of showing respect." Simon Tam, Jaynestown

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Friday, November 9, 2007 9:33 PM

PEGLEG


For me, it's the scene at the end of Jaynestown when Mal and Jayne are talking inside the cargo hold.

When they have the slow acoustic version of "Hero of Canton" playing, the scene just becomes something..... perfect in my mind.





Curse your sudden but inevitable betrayal!

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Saturday, November 10, 2007 5:09 AM

DEEPLYKIDDING


Visually, the episode with the most impact for me was Out of Gas. Using different lighting/filter effects to indicate flashbacks & timeline was fantastic. I especially love the way the scene introducing Jayne was filmed. It looks so gritty you can almost smell the grease, sweat & dirt, and you can completely forget that they are standing in front of a big painted backdrop.

But my favorite scene visually in that ep is in the beginning, watching Mal fall into scene & hitting the grate, shifting to the past showing Mal introducing Zoe to the ship, and then panning back down to Mal laying on the grate again. The first time I saw him obviously fighting for his life, with the blood dripping down from the grate, filled me with so much anxiety. The perspective (camera on the ground) and the lighting (blue, coming up from the grate) make such an impact, you almost physically feel it. Every time I watch that scene I feel that same anguish, as though I haven't seen it before. Yes, I know he lives, but it was filmed so well that I fear for his life every time!

(trying to post image here - not sure if it works)

(Sorry if this is an incoherent rambling post, but my morning-loving sister woke me up at 6:30 this morning to go for a walk. I AM NOT A MORNING PERSON!!! I'm on my second cup of coffee and I'm still cranky. Thought FFF.net would cheer me up).

I'd rather be a smartass than a dumbass...

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Saturday, November 10, 2007 9:19 AM

WALTZING


I think the episode Objects in Space is the perfect episode for this thread. The episode on a whole just had a different, more aesthetic feel to it than the others. Not to say it's better or anything- just different, and the cinematography was part of that. That said, though the whole episode is shot beautifully, I'll narrow it down to my favorite scene. It's the scene in the very beginning, right after River's been walking through the ship and listening to thoughts, where she ends up in the cargo bay. We've been following River, and suddenly there's this shot from above, showing the floor strewn with orange leaves, as though a wind had just blown through a stand of trees in autumn. The sudden juxtaposition is both startling and breathtaking. The soft warm color of the leaves starkly contrasts with the cooler colors of the ship. Also, the appearance of something so natural as leaves catches our attention because they're so rare in the somewhat artificial and cold setting of a spaceship cruising through endless space. In addition to the beautiful image, what I love about this scene is that everything is suddenly silent. All the voices and ship machine noises stop, almost as though River had indeed stepped into a forest. In this moment, we are truly in her mind, separate from the ship and everyone else, staring at objects that 'don't mean what you think.' The scene ends abruptly when the real world of the ship comes crashing in with the crew shouting in consternation at River's possession of the branch-turned-gun. The leaves are gone and we are back on the ship, pulled back into the real world of the other characters. Every time I watch I am continually impressed with the subtlety of this scene, and the incredible attention to detail that makes it wonderful.

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Saturday, November 10, 2007 9:28 AM

DEEPLYKIDDING


Good points, Waltzing. That was a good scene. And you pointed out one of the "tricks" that Firefly used so well - silence. It is so rare for TV & movies to use complete absence of sound, and Firefly used it wonderfully.

I'd rather be a smartass than a dumbass...

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Saturday, November 10, 2007 10:51 AM

MERRYK


Oh yes, the beginning of Out of Gas is just brilliant Can't say I'm actually that fond of the rest of the episode, but Mal wounded and the first flashback are one of my favorite scenes ever.

I agree, Waltzing...Objects in Space has that moment that, if we didn't know before that River was crazy, we wouldn't need to be told afterwards.

I just remembered another one...Simon's monologue in the pilot. There's the score and the directing, as usual, and then so much more. The dialogue is great, with the repeating, distraction, stumbling—it really sounds real, and feels real when you watch it delivered. And then we don't see what he's talking about, we don't get to see the planning or the escape, but what we do see is the emotional undercurrent of what he's telling them: the gentle restraining of River, her bratty attitude, and then how she sleeps while he gently strokes her hand. Brilliant filmmaking, that you can't understand unless you've seen it.

Another one is the war scene at the beginning of the pilot (have you figured out that Serenity's one of my favorite episodes?). It's all action, all humor, and then suddenly the music changes and Mal just stands there with the perfect look on his face. It's not just horror, it's not just sadness, it's not just disbelief...it's something you understand but can't describe. The music is perfect, and the slightly slow motion, and the framing as Bendis gets shot down right next to Mal as the ships land. We don't need any other explanation for why Mal is who he his.

--
"My way of being polite, or however...well, it's the only way I have of showing you that I like you. Of showing respect." Simon Tam, Jaynestown

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Saturday, November 10, 2007 10:59 AM

WYTCHCROFT


Quote:

Originally posted by Waltzing:
I'll narrow it down to my favorite scene. It's the scene in the very beginning, right after River's been walking through the ship and listening to thoughts, where she ends up in the cargo bay. We've been following River, and suddenly there's this shot from above, showing the floor strewn with orange leaves, as though a wind had just blown through a stand of trees in autumn. The sudden juxtaposition is both startling and breathtaking. The soft warm color of the leaves starkly contrasts with the cooler colors of the ship. Also, the appearance of something so natural as leaves catches our attention because they're so rare in the somewhat artificial and cold setting of a spaceship cruising through endless space. In addition to the beautiful image, what I love about this scene is that everything is suddenly silent. All the voices and ship machine noises stop, almost as though River had indeed stepped into a forest. In this moment, we are truly in her mind, separate from the ship and everyone else, staring at objects that 'don't mean what you think.' The scene ends abruptly when the real world of the ship comes crashing in with the crew shouting in consternation at River's possession of the branch-turned-gun. The leaves are gone and we are back on the ship, pulled back into the real world of the other characters. Every time I watch I am continually impressed with the subtlety of this scene, and the incredible attention to detail that makes it wonderful.



well that was the one i'd have picked too! but i wouldn't have said it a tenth as well - lovely description/summation of that scene. great post:)


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Saturday, November 10, 2007 11:14 AM

WALTZING


Thanks! Glad you liked it. Hooray Firefly.

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Monday, November 12, 2007 3:15 PM

LAWMAN


So many to pick from... but the one scene that always seems to exemplify what the series means to me: right before the explosion in Out of Gas, the crew is laughing and eating together. Things never go well, and at this point, life is bearable. You see the happiness in the faces of each character as Book is telling his funny story. A crew that doesn't get to laugh too often, or have occasion to smile. Its as if they need to laugh so badly, because nothing ever goes right for them. I was watching this episode for the 100th time and I had to stop during the birthday cake scene. It was much too painful knowing what is about to happen. I hate to sound so weepy about an episode I've seen so much, but the characters are so believable. I want them to find some happiness so badly. I think the last time they are all this happy is when they are playing that hoop ball game. and even then, not all the characters are exactly involved. even in our mrs reynolds, the celebratory party is somewhat sad because Book is burying people. Anyway, I am always in awe of the scene in out of gas. Sometimes I wonder is it too much to ask for a little bit of happiness in space.

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Monday, November 12, 2007 3:55 PM

MERRYK


I thought of another one...the interrogation in Bushwacked. This is a scene that works on so many levels. First of all, we notice it's humor, but scenes that are only there for humor are flat, especially since the humor may not work. But we also get excellent character development that works well with the plot, and the editing along with the writing makes it a joy to watch. The scenes of Alliance feds searching the ship, and then the drawing back to reveal Simon and River—camera work that is great.

--
"My way of being polite, or however...well, it's the only way I have of showing you that I like you. Of showing respect." Simon Tam, Jaynestown

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Monday, November 12, 2007 8:14 PM

JEWELSTAITEFAN


Simon's monologue in the Pilot.
KayLee eating the strawberry. One of my 3 favorite scenes with her facial expressions.

Jayne & Mal at the end of Ariel. That made me think this verse had meat in the scripts. Well acted, I thought.

War Stories, Wash and Zoe loading for bear.
And 3 shots from River - how to adequately do that in written form?

Train Job, Sheriff catching Mal returning the meds.

BDM, River finding Miranda in the Nav charts while cocking the gun. Clearcut, precise, and who really saw that coming?

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Monday, November 12, 2007 8:23 PM

MERRYK


Oh yes, River's precision as she takes over the ship. I giggle a little every time I see her positioned with the peach can—what is it about Jayne getting beat up that is so funny? And then the horrific following as she actually takes down Simon. The worry of the crew as they dash about, and then as she threatens Mal silently. I agree, excellent scene.

The fight at the Maidenhead—the choreography and acting tells everything here. We don't even really need Simon and Mr. Universe to tell us that she can be triggered, and that the Fruity Oaty Bar was subliminal. And we don't need to be told that River's a weapon after this scene either...the skill of that 90 pound girl is phenomenal! I have taken martial arts, and seen many martial arts films, and yet this fight scene is one of the most gorgeous, and yet plot important scenes I have ever seen.

--
"My way of being polite, or however...well, it's the only way I have of showing you that I like you. Of showing respect." Simon Tam, Jaynestown

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Wednesday, November 14, 2007 4:35 PM

STAPLES


When Mal confronts Jayne at the end of Ariel.

I personally believe that this scene is the best bit of acting in the entire series. It's so raw, so emotional, and just damn good. I get chills EVERY time Mal says "You did it to me Jayne...and that's a fact..." He's just so cold in this scene, and I love the idea that Mal feels so strongly about his crew that he would actually kill a betrayer.

I absolutely LOVE that scene...

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Wednesday, November 21, 2007 9:21 AM

BLUEBOMBER


In the "Serenity" pilot, when Mal caps Dobson, who is using River as a human shield, right in the face, and doesn't even break his stride. I just lose it every time I see that.

"Mwah ha ha ha...mine is an evil laugh. Now die."

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Wednesday, November 21, 2007 10:35 AM

JONGSSTRAW


I like the "Unification Day" speech and bar fight in Train Job. The guy that says it is great....I'm thinking to myself what would this low-life loser on a low-life loser planet be celebrating and happy about Unification Day?
I can only think he was a soldier on the Alliance side....SHUT UP! I got words! I'm sayin' this is an auspicious day........sent the scumbag inpendents ( not independents )...and then Zoe whacks him with her rifle....then of course the arrival of Serenity hanging over them was terrific.
Next favorite is the "Ballad of Jayne". I love the guy singing it, I love the song, I love the "group" chorus, and I love his funny little hat.

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Wednesday, November 21, 2007 10:49 AM

PACHELBEL


One of the most awe-inspiring scenes for me is the delivery of Tracey to his family at the end of "The Message." Just amazing seeing everyone's sadness, the voice over, the incredible score as the whole scene fixes on Mal's face, and ... fade to black. Wow.

Another scene I really like is right after River finds the bodies in "Bushwhacked." The camera pulls back, and Mal and Zoe shine their flashlights up, in perfect synchrony, to reveal the remnants from the Reaver attack.

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Wednesday, November 21, 2007 11:25 AM

BROWNCOATSANDINISTA


Even though it made me cry, the scene immediately after "Gliding her In" during the BDM blows me away from an aesthetic/artistic standpoint. The severe lighting, how every thing's all bifurcated red and black, and the absolute suddenness of the spike in the middle of Wash's line really do their job. He didn't get to have his "Hero Triumphant" moment. He was just a regular guy who finally gets to say something cool, and is interrupted. After that and Book I was sure that Joss was gonna kill off our BDHs, which shocked me to say the least. But brilliant storytelling, and brilliant use of film.

Also, The scene where Simon has been shot and is apologizing to River always gets me. The sound attenuates out, and the lights dim - it's almost as if we were shot, and our senses are fading out. The writing is incredible - what's left unsaid just tears at me.

And finally, River Triumphant. There's a perfectly good reason that they chose to do a statue of it. The way she's backlit, sword and axe in a ready/relaxed position. And then it cuts first to her face, and then to her eye, and finally to her hand tightening on the Axe. That was a perfect three take "Oh My God" moment in my opinion.

"I'm not going to say Serenity is the greatest SciFi movie ever; oh wait yes I am." - Orson Scott Card

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Sunday, November 25, 2007 10:40 PM

PHOENIXRISEN


I'm a big fan of dialogue, so by far my favorite scene in the series is the Mal/Nandi scene in "Heart of Gold". I just love the way the characters have such an amazing mutual respect for each other and connect on this totally deeper level than the other fornicatin' in the house, and yet still, it's not quite love. I've watched that scene dozens and dozens of times, and I still can't find a single thing wrong with it.



"Well, my days of not taking you seriously are certainly comin' to a middle." - Mal

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Monday, November 26, 2007 5:52 PM

THEHEROOFWILLIAMTOWN


One scene that i really enjoy hmmmm...

Well the Scene With Jayne and Mal in the Cargo hold is a great scene i have to say.

But my number one scene has to be....
Mal and Inara at the End of Heart of Gold. That Scene is really great.

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Tuesday, November 27, 2007 2:38 AM

AMDOBELL


Pretty much the whole of "Out of Gas" does it for me. I love the scene of everyone around the table, all happy, no one hurt or being tortured, enjoying a moment of friendship and pleasure. The light on their animated faces, kind of chokes me up with happy every time. From then on the episode feels like one long scene for Mal with some beautiful camera work and the intercutting of flashbacks to his crew as we get the story of what happened to him in reverse is just so incredibly moving. I cried buckets in that one. And who didn't have a little hitch in their breath when the Captain is in the infirmary afterwards and is about to drift off again then focuses with a sudden instensity "You all gonna be here when I wake up?" We don't often see Mal vulnerable but when we do it gets me every time.

And the scene in "Shindig" where Mal is trying to get some last minute tuition on fencing from Inara and he looks down and quietly asks her not to take Atherton's offer. If there was ever any doubt in Inara's mind that Mal has deep feelings for her, maybe even love, not even a blind donkey could miss it here. Even if it is not love it is a deep caring, friendship, the need to protect her and keep her safe. His anger that the whole of that elite society playing out their little ball as if they really care about each other when he knows that they don't really *see* Inara, just the artifice they are all willing parts of, the facade that clothes them as perfectly as their stilted manners and rich trappings. All for show. I sometimes think that it is because Mal *sees* her that Inara is so very careful not to let herself get too close to him. He makes her feel vulnerable emotionally and her life is all about emotional control so she can help others.

I also found the part where Simon got shot in the BDM then apologises to River so damn moving, had tears in my eyes. At several points in the movie I was convinced that Joss was going to kill them all and it was breaking my heart. And going back very briefly to "Out of Gas" I loved the bit where Mal has told the others the plan and is sending them off in the two shuttles and Wash doesn't turn to go with the others but to go to the bridge and that look on Wash's face when he tells the Captain he is going to rig up a switch so he can call everyone one "when your miracle gets here" was very touching. You can see he gets Mal, understands that the man has to be the one to make the hard decisions, the ones no one else wants to make or can bring themselves to make, because he is the one with the rank and the responsibility. I also think that is why Zoe would rather follow than lead, that role is her comfort zone.

The scene with River and Simon in the bunk when he is soothing her and she tells him he came for her 'found me broken' wrenches at the heart strings. Loved the bit where he hugs her and she confesses she threw up over his bed and dear Simon smiles and pats her back and says, "Yep, definitely my sister". Casting Summer and Sean as the siblings was a masterstroke, but then every actor is perfect for the role they were given in the series and film. Impossible to list all my favourite scenes or episodes, I would be quoting the whole gorram thing! Guess thats' why I'm a Browncoat.

Ali D :~)
You can't take the sky from me...

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Tuesday, November 27, 2007 10:31 AM

DRDUBER


This is kind of a personal reference with me, and again it is Out of Gas.

My father has for a long time said he knows he will die alone. It hit home hearing Mal say that in Out of Gas.

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Friday, November 30, 2007 5:59 AM

KACEK


Quote:



Another one is the war scene at the beginning of the pilot (have you figured out that Serenity's one of my favorite episodes?). It's all action, all humor, and then suddenly the music changes and Mal just stands there with the perfect look on his face. It's not just horror, it's not just sadness, it's not just disbelief...it's something you understand but can't describe. The music is perfect, and the slightly slow motion, and the framing as Bendis gets shot down right next to Mal as the ships land. We don't need any other explanation for why Mal is who he his.



This is one of my favorite Mal Moments too.
I always thought of it as pure and total loss. Loss of freedom, loss of trust, loss of hope.

I was going to add to this list, but I found I couldn't pick out one single scene, and the more I read, the more I said to myself, yeah, that one too.

I used to identify myself as a Trekker, but I cannot think of any moments in ST episodes (or movies) that have moved me as emotionally as our little Firefly and BDM. I am hanging up the Troi dress and hunting for a Browncoat.

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Tuesday, December 18, 2007 10:37 PM

JEWELSTAITEFAN


There is a scene that isn't spectacular or anything, but does awe me. In Out of Gas, when they are embarking on the shuttles, where Mal and Jayne Say their final farewells, it's just Jayne saying "Yeah. Well." in true western he-man fashion. The exchange in that one scene, has so much behind it. From what I've read and hear in commentaries, it may have been Adam that came up with all that was (un)said there, and it strikes me every time. Craftsmen at work in this scene.

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Tuesday, December 18, 2007 10:50 PM

JEWELSTAITEFAN


Quote:

Originally posted by wytchcroft:
Quote:

Originally posted by Waltzing:
I'll narrow it down to my favorite scene. It's the scene in the very beginning, right after River's been walking through the ship and listening to thoughts, where she ends up in the cargo bay. We've been following River, and suddenly there's this shot from above, showing the floor strewn with orange leaves, as though a wind had just blown through a stand of trees in autumn. The sudden juxtaposition is both startling and breathtaking. The soft warm color of the leaves starkly contrasts with the cooler colors of the ship. Also, the appearance of something so natural as leaves catches our attention because they're so rare in the somewhat artificial and cold setting of a spaceship cruising through endless space. In addition to the beautiful image, what I love about this scene is that everything is suddenly silent. All the voices and ship machine noises stop, almost as though River had indeed stepped into a forest. In this moment, we are truly in her mind, separate from the ship and everyone else, staring at objects that 'don't mean what you think.' The scene ends abruptly when the real world of the ship comes crashing in with the crew shouting in consternation at River's possession of the branch-turned-gun. The leaves are gone and we are back on the ship, pulled back into the real world of the other characters. Every time I watch I am continually impressed with the subtlety of this scene, and the incredible attention to detail that makes it wonderful.



well that was the one i'd have picked too! but i wouldn't have said it a tenth as well - lovely description/summation of that scene. great post:)




To be clear, there is a lot of this episode I don't get. For one thing, how does the gun get to the cargo bay floor? Jayne had it locked up, there is no inplication that River took it there with her, but that she just discovered it there. Are we to think she "walked" the ship in ephemoral form, merely thinking/imagining/sensing the walk through, with all the reading of mind, and she was in the cargo bay the whole time, with the gun? Or was she actually walking, and reading when in proximity to each of the others, then "coming upon" the gun in the cargo bay? I don't see why she would have broken into Jayne's weapon arsenal, if that's what she did. I don't recall any commentaries or such which explain this.

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Wednesday, December 19, 2007 1:12 PM

BLUESUNCOMPANYMAN


Quote:

Originally posted by jewelstaitefan:

To be clear, there is a lot of this episode I don't get. For one thing, how does the gun get to the cargo bay floor? Jayne had it locked up, there is no inplication that River took it there with her, but that she just discovered it there. Are we to think she "walked" the ship in ephemoral form, merely thinking/imagining/sensing the walk through, with all the reading of mind, and she was in the cargo bay the whole time, with the gun? Or was she actually walking, and reading when in proximity to each of the others, then "coming upon" the gun in the cargo bay? I don't see why she would have broken into Jayne's weapon arsenal, if that's what she did. I don't recall any commentaries or such which explain this.



First let me say that OIS is simply the greatest episode of sci-fi EVER. EVER. Waltzing delivers a wonderful description of the cargo hold sequence, and that's just one slice, one small sliver, of the layers of wonder this episode offers.

To answer your question JSF, I think you might be crossing two seperate issues. We must consider what "actually" happened in the physical world to be different from what "astrally" happened in River's psyche. The only solid known of the event is that River is at some point in the cargo hold with a handgun that belongs to Jayne. All other thoughts are speculations. Now given that, and the subsequent result that what I offer is speculation, I nevertheless offer it to you.

Bluesuncompanyman's theory based on 4 years of thought on this subject:

River's walk through the ship was entirely a psychic journey. It explains why nobody seems to "see" her apart from their psychic statements to her. The things people say are all secrets they hold in their hearts. Some are obvious, like jayne's and Simon's. Others are not. In the commentary Joss tells us that some statements are "things we do not yet understand" and sadly never will. One thing that I think catches people in a confusion about her journey and her sudden "waking up" with a gun in her hand is an assumption that all things follow in a linear timeframe. There is no actual reason to believe this. River is insane. She perceves the world differently than the rest of the crew. At times she does have moments of clarity and I believe the stick-to-handgun transition was a moment that she "woke up" so-to-speak. If you watch closely there are other times in the show that she shows clear thought. A good example is in the episode Safe when she tells Simon that she knows she is a burden. I think she had pulled this out of his mind eariler (it was a secret he kept) and in a cogent moment she voiced it.

If one makes the assumption that her journey at the start of OIS was linear, one becomes confused about how the gun came to be in her hand. A better way to think about it is to postulate that she is "thinking" herself one way and "walking" herself in another. Perhaps she physically just walked herself into Jaynes bunk and took the gun, all the while astrally walking elsewhere. Maybe the psychic journey actually happened hours earlier and this whole time she was physically walking in a zoned out psychosis gun in hand. The point isn't what actually happened, it's the window we've been given into her mind, to begin to understand the disjointed and abstract way she views the world.

An intresting scene that would help shed light on things would be to see what happened in the "real" world just prior to the sick-to-gun swicharoo. By the time of her awakening, the crew has had ample time to rally around. Obviously this standoff started at least 60 seconds previous. I'd imagine that Kaylee came around a corner or some such and saw River standing there zoned out with a gun in her hand, called for Mal and everyone came running. Did River say anything in that timeframe? If so what? And if anything was said...RIVER CAN'T HERSELF REMEMBER IT. What I'm trying to convey is that nothing about River's psyche is linear. Time doesn't exactly flow at the same rate for her. Experiences are confusing. The real and the pcychosis ebb and flow yielding moments of clear thought and others of lunatic insanity...with pleanty of stuff in between.

My final thought on the matter has always been that she physically went to Jayne's bunk, took the handgun, and then proceeded to the cargo hold where Kaylee discovered her....all the while unaware of what she was doing. There is no rational reason why she took the gun. Perhaps it goes back to some form of pre-programming by Dr. Mathias and the doctors at Blue Sun coupled with the common knowledge that on this ship, the best place to find an unattended firearm would be in Jayne's bunk. The psychic journey through the ship may or may not have occured at the same time. It's all a mystery and we'll never know.



Do not fear me. Our's is a peaceful race and we must live in harmony.

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Wednesday, December 19, 2007 2:28 PM

LWAVES


I pretty much agree with Bluesuncompanyman's post and it's also the scene I'm most in awe of, although it isn't actually my favourite.

I believe Jayne when he stated that his gun was locked up. I believe River must have taken it (why would anyone else need to). Also that the 'walk' through the ship was mental not physical. It wouldn't surprise me if the crew weren't even in those positions, that they were only there in River's mind and in reality were in other parts of the ship (i.e. Kaylee in the cargo hold or about to enter it).
I would compare River's state of mind to the bar scene in the BDM. She wasn't herself in either case. This was just a precursor to that. An early version if you will. It had already been established that she was comfortable with guns in some circumstances but not in others. This was an example of a transition between her two mindsets.

Don't you just wanna hug her and tell her it's alright when she realizes what she's doing and becomes scared.



"I don't believe in suicide, but if you'd like to try it it might cheer me up to watch."

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Wednesday, December 19, 2007 3:00 PM

SHEPARDBOOKEM


As I read these, it reminds me.... there were actually two other times when handguns were somewhat haphazardly laying about the ship. One saves Mal in OOG, (though he may have conveniently stashed that one), and the one Tracy discovers on the bridge in "The Message". Perhaps firearm security was a bit lax??
A favorite moment, and another brief view of Mal's softer side (and feelings for Inara); near the end of OIS, just outside the infirmary, he reaches up tenderly and holds Inara's chin, asking about her cut lip.... she puts her hand over his and for just a flash... it's all there! Then it's over, and the series is over, and there's so much potential and so much unexplored mystery... aaarrggghhhh - it kills me!

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Wednesday, December 19, 2007 7:29 PM

JEWELSTAITEFAN


As for Mal finding a gun inOoG, I thought the script said it was one of Jayne's stash hiding places, under the carriage of the mule, in it's holster. I recall the script said where Tracey's gun came from in Message, but I don't recall the detail of where/why/how.

For River in OIS, I don't have a problem with river's journey being ephemoral or non-linear. I asume you mean non-linear in time as being possibly surging in time, compression and expansion of time. I don't agree she is crazy, tho many of you do. I don't think you are referring to non-sequential time, because Joss has stated that he considers psychic to be fantasy, and apparently he doesn't understand or believe it, so he probably doesn't understand the lack of chornological constraint on reading of psychics. It does seem the other writers understand it all better, but because Joss does not, it seems reasonable to assume his intent was not to film the scenes in non-chronological sequence (except when obvious, in OoG or Trash).

So how does River unlock Jaynes lock? So far we all agree that Jayne did have this specific handgun locked up. Did she unlock the lock with her mind? What?

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Thursday, December 20, 2007 1:08 PM

BLUESUNCOMPANYMAN


Quote:

Originally posted by jewelstaitefan:

So how does River unlock Jaynes lock? So far we all agree that Jayne did have this specific handgun locked up. Did she unlock the lock with her mind? What?



Jayne would say: "Maybe she used some of that Math we've been talking about"

A joke. But to be more serious, it's just another mystery. I believe River possesses all kinds of pre-programmed skillsets. You might note as a sidebar that Joss's new show Dollhouse is using the same theme.

She picked the lock. She broke it. It was a combo lock and she pulled the combo from Jaynes mind. It was a key lock and she stole the key and returned it later. You can make up just about any scenario. Maybe when Jayne said the gun was "locked up" he meant his whole bunk is locked (like when Early locked them all in) and if someone unlocks the bunk they'd have free reign to look around. Remember when he pulled the blanket off the wall? Lots of firearms there.

And what I meant by "non-linear" time was refering more to our new window into River's human experience. Multiple personality subjects often report feeling no sense of time passage when they "drop out" and a new personality comes forth. For such a person one moment it's monday and their having lunch with co-workers, and then suddenly they are in bed at home. It must be frightening. I notice you don't think she's "crazy". I guess that's more of an issue of word definition. She certainly experiences "layers of psychosis" per Dr. Mathias in the film. Jayne keeps it simple and calls her crazy. I describe her as occasionally uncogent.

Hey, I think we have a new Con question for Joss. For those of you going to comicon 08, if Joss does a panel Q&A ask him: "How did River get the handgun in OIS if Jayne had it locked up?" If I was him I'd answer that she used math. haha.

Do not fear me. Our's is a peaceful race and we must live in harmony.

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Thursday, December 20, 2007 2:30 PM

TUJIAOZUO


Practically all of the scenes/episodes mentioned above I view as favorites. With this series there are so many little perfect scenes within each episode. Whether it's Simon's dialog in the pilot, or Jayne's cunning hat, they all have a special place in my heart.

However my number 1 favorite sequence of all time is the introduction of Serenity in the movie. Regardless there's no cast or dialog, it is what gets me the most. The serene silence of space accompanied by the slow mournful beginning of the song with the cello, pulling back to see Serenity moving through the black. The music building and exploding into an adventuresome, frontierish anthem as she prepares to break into the atmosphere, and as it reaches it's crescendo.... a part flies off of the ship. That thirty seconds to me is the essence of the series intself. It's all about the ship, it's all about the home Serenity is and the struggles in the new frontier. It's so beautifully done with the CGI and the soundtrack that it still leaves me in awe.

Your Indian Pirate Lord,
Ash

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Thursday, December 20, 2007 2:46 PM

CHRISTHECYNIC


I thought the bit after Kaylee was shot was done perfectly, especially with Jayne looking through the window.

Quote:

Originally posted by TuJiaoZuo:
However my number 1 favorite sequence of all time is the introduction of Serenity in the movie. Regardless there's no cast or dialog, it is what gets me the most. The serene silence of space accompanied by the slow mournful beginning of the song with the cello, pulling back to see Serenity moving through the black. The music building and exploding into an adventuresome, frontierish anthem as she prepares to break into the atmosphere, and as it reaches it's crescendo.... a part flies off of the ship. That thirty seconds to me is the essence of the series intself. It's all about the ship, it's all about the home Serenity is and the struggles in the new frontier. It's so beautifully done with the CGI and the soundtrack that it still leaves me in awe.


For me that was the scene that really brought me into the movie. What came before I have nothing against, but when Serenity hit atmo and the music picked up was the moment I knew I was home.

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Monday, March 24, 2008 8:38 AM

TWILIGHTSEEKER


I know I am coming to this thread late...but having found and read throught it I just felt compelled to add my 2 cents worth.

I have to agree with every scene posted here as special. The shots of Serenity alone in space with the music are SO primal and viseral. They make me long to be allowed to walk up the ramp and be a part of the world.

I also have a few more of my own.

1. Cinmagraphically...the shot of River in the
cryo chamber is stunning...the swirling mist
the fragle form inside..then of course there
is Mal's "huh" as well as his later reaction
when she emerges.

2. Ship's Commander "Your husband.."
Zoe "Fight with him sometimes too"

I laugh everytime I hear that..so
quintessentially Zoe

3. In Safe when Simon realizes he can not save
River and tells them to "light it" as he
embraces her...says it all..never again will
River be alone.

But I think if you forced me to pick just one...it would have to be River's speech to Early in OiS about why she will go with him. The break in her voice, the sadness, compassion and forgiveness...no matter HOW many times I watch I still get a lump in my throat that cuts off my breathing and tears in my eyes.

twilight seeker

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Monday, September 15, 2008 11:43 AM

TWITCH


For Firefly, you guys have hit most of my faves on the head. Objects in Space and Out of Gas are two of my favorite pieces of SF writing, ever, for all of the reasons previously mentioned.

One to add is in "Safe" when River is talking to Simon in the village when she says, "But I'll get better. I'll get better!" Cripes that tears at me.

If you include the BDM in this discussion, though, hands-down the one that makes me cry every time is just a few seconds of film without a line spoken. It's at the very end, after the battle, after the utter catharsis, when Serenity is being put back together. Zoe is welding on the frame for the front view port; the port Wash was sitting behind when he was killed. And not an expression on her face.

Damn I count myself fortunate to get to see that kind of writing on the screen.

Tom

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Wednesday, October 1, 2008 3:30 PM

WYTERABIT


I can't believe no one mentioned one of my favorites! Granted all of the scenes mentioned are wonderful in their own way. The entire "Out of Gas" episode in particular had so many great moments. Especially the ending where the salesman is talking about the "great ship" he was trying to sell Mal and you see Mal completely ignoring the saleman. His gazed fixed on Serenity. AWESOME moment.

But I have to say my all time favorite moment (not particularly because it was Awe-inspiring but more because when I see it, I laugh my butt off) is from the pilot episode "Serenity".

Who can forget this moment?

Mal: Comes time, someone's gonna have to deal with him. That sould be you. But I don't think you've got the guts... And I know you don't have the time.
Simon: What do you mean?
Mal: Kaylee's dead.
[Simon runs to the infirmary; sees Kaylee, quite alive; she waves at him]
Simon: [to himself] That man's psychotic.
[on bridge, Mal, Jayne, Zoë, and Wash are laughing histarically]
Wash: You are psychotic!
Mal: No! You shoulda seen his face. Oh, I'm a bad man.

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Wednesday, October 1, 2008 3:30 PM

WYTERABIT


I can't believe no one mentioned one of my favorites! Granted all of the scenes mentioned are wonderful in their own way. The entire "Out of Gas" episode in particular had so many great moments. Especially the ending where the salesman is talking about the "great ship" he was trying to sell Mal and you see Mal completely ignoring the saleman. His gazed fixed on Serenity. AWESOME moment.

But I have to say my all time favorite moment (not particularly because it was Awe-inspiring but more because when I see it, I laugh my butt off) is from the pilot episode "Serenity".

Who can forget this moment?

Mal: Comes time, someone's gonna have to deal with him. That sould be you. But I don't think you've got the guts... And I know you don't have the time.
Simon: What do you mean?
Mal: Kaylee's dead.
[Simon runs to the infirmary; sees Kaylee, quite alive; she waves at him]
Simon: [to himself] That man's psychotic.
[on bridge, Mal, Jayne, Zoë, and Wash are laughing histarically]
Wash: You are psychotic!
Mal: No! You shoulda seen his face. Oh, I'm a bad man.

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Saturday, October 4, 2008 12:59 PM

TRAVELER


I liked the Crazy Ivan and seeing Kaylee pat the bulkhead with pride.


http://www.imdb.com/mymovies/list?l=28764731
Traveler

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Saturday, October 4, 2008 4:22 PM

PHYRELIGHT


It's late for me here, so I won't go into a long list, but I do have one line to sum up one of my favorite moments:
Quote:

MAL: Everybody dies alone.




Experience the Horribleness:





Or, learn more at the lair: http://www.drhorrible.com

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Wednesday, October 8, 2008 9:29 PM

SHINYGOODGUY


SGG here, loved all the posts, naturally, but damn Waltzing I nearly cried after reading your description of the OIS scene. Wow!

OIS is my fav all time ep of anything, movie or tv, because there's so much in there. I especially love River's speech, I truly indeed wanted to give her a hug (much like Simon does throughout).

But the scene that awes me the most, aside from the cargo bay scene with River in OIS, is in the pilot, the Absolution scene when Inara "blesses" Book when he confesses that he's on the wrong ship. Gets me every time.

Inara and River are Serenity, hell all the women on this boat are Serenity (but thats another thread).

Kaylee: "That's my good girl"

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Sunday, November 2, 2008 12:01 PM

JAYNESMANE


For me it's anything with Brooke. His dialog is just so well written -- it's not too preachy and yet it's so insightful at the same time. I love the mystery of his character too.

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Thursday, November 6, 2008 4:38 PM

ANABELEE


I am a newbie to this site (but not to Firefly) so I am coming to this thread rather late.

A couple of scenes that have always inspired the awe for me are in Bushwacked. The first investigation of the ghost ship when the flashlight beam hits the red balloon sends chills up my spine every time. I also think River's walk through on the ship is beautifully done. The way her hair blows as she enters is so cool The lighting as she walks through the scene is just wonderful.

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Thursday, November 6, 2008 5:35 PM

FREMDFIRMA


Couple of em.

On two very different levels...

"Big Damn Heros!"
First was that they did come for them, and boy did they ever, with the whole cavalry fanfare and lots of entirely deliberate grandstanding.

But underneath it, the fact that they were spead out, and carrying shotguns with aircover, cause they were absolutely, even murderously, serious about it in spite of those antics.

The other was the small flashback scene in The Message, when Zoe sneaks up on the alliance goon and FHWIPP...

Add to that the scene where she brings Niska the ransom in War Stories.

In so many sci-fi shows, there's a distinct tendancy to view the captains right hand 'man' as someone lesser, in competence and ability, but Zoe, and the way her nature and abilities are framed by the scenes that home in on it - will FIRMLY disabuse any notion of that concerning her.

Even in the scenes where she's being lighthearted, Firefly never, EVER lets you forget that woman is pure death on two legs if she means to be, every scene has that slight razor edge to it, if you go back and watch real careful, you'll notice it right away and then go "wow, I never really caught that the first time around.."

Which is why Firefly is so great, just so many layers, like an everlasting gobstopper.

-F

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Sunday, November 9, 2008 9:56 PM

JEWELSTAITEFAN


Just had more thought. Many have complained about Zoe and the portrayal Gina was forced to give.
FMF mentioned she was not a lesser XO, and this is similar to Spock - who would doubt he COULD lead, command, captain? He just didn't when Jim was around.

Many roles done by women, and minority women, have a lot of gab to them. Zoe is not a gabfest, and that may very well be why I like her so much. At least at the early parts, she speaks fairly concisely, not blathering on and on, so that when she dies speak, she is listened to (maybe also that active gun hand contirbutes). When she makes a funny, it needs not be extensive for all to enjoy it. She may not have the most lines, and intentionally so, but I think she makes the most of the few lines she has, and more of all the scenes and background activity she has.

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Monday, November 10, 2008 3:18 AM

JAYNESMANE


The episode where they go to rescue Mal. I duno, I always get all warm and fuzzy when they team up, including Brook (kneecaps only!) to rescue him.

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Tuesday, November 11, 2008 11:11 PM

JEWELSTAITEFAN


Quote:

Originally posted by JaynesMane:
The episode where they go to rescue Mal. I duno, I always get all warm and fuzzy when they team up, including Brook (kneecaps only!) to rescue him.

---


Book has good lines, but this is our first taste of River's potential. After this we can figure her threats of killing Jayne ability are not idle.

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Sunday, November 30, 2008 11:34 AM

AG05


I really like the dancing scene in "Taken." After all the pain and confusion we see in River prior to this episode, we finally get a glimpse of River as she was before the Academy: Graceful, dancing, and, above all, happy. But of course, like many of Rivers small moments of happiness or lucidity, it is cut traumatically short by forces beyond her control.

Call me nuts, but I also really liked the torture scene with Mal and Wash, although not in a Sun Tzu sort of way.

Actually, that's not correct. I liked this scene precisely because we see Mal as he truly is. Despite the pain, despite the high probability of death, despite the hopeless situation, Mal's primary thought was the well-being of his crewman. So through the pain he strives, in a darkly LOL-inducing manner, to keep Wash concentrating on something, anything other than the torture. The effect this has on Wash, once he realized what Mal had done, is noteworthy. Wash understood how a leader like Mal could inspire the loyalty shown by Zoe and others. And it's clear from his actions (picking up arms and taking an active role in Mal's rescue) that he now feels that same loyalty.

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