You Can't Take The Sky From Me - A Marxist Reading of Joss Whedon's "Firefly" The Myles Files

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September 28, 2007 in File #1, File #3 | Tags: Firefly, Marxism

[As part of my Theory3073 Class, we are required to provide three critical responses/commentaries
as part of our course work. In addressing Marxist theory, the first of our major perspectives taken
within the course, I chose to complete the following assignment as a way of testing its legitimacy and
its use as a way into new forms of media.
Normally I'd put this type of stuff at my TV blog, Cultural Learnings, but in this case I've chosen to
place it here due to its application to academic endeavors. I might end up using certain aspects of this
within my thesis, although I have pretty much decided I could theoretically use every single
perspective in the history of literature in my thesis, so I will need to pare that down. Anyways, I'm
posting it online so I can use YouTube to illustrate my points, and to share with everyone. So, enjoy!]
A MARXIST READING OF JOSS WHEDONS FIREFLY
In reading Terry Eagletons Marxism and Literary Criticism, my immediate reaction was how this
related to television (For those who know me, this should not be surprising). This is, obviously, a flawed
perspective, but what I came to understand reading the text is that a Marxist perspective puts a very
different perspective on literature, and that applying this to a television show could reveal hidden
complexities and detail that would elevate it to a level of literary scholarship. It is with this eye that I
turned to Firefly, which I realized was not just another science fiction series. The result was a greater
understanding of the series representation of class, unique for the genre, and also the complexities of
its largely invented superstructure.
The realm of science fiction intended for mass consumption within a popular culture realm is a world in
which idealist systems of governance and society have been the relative norm. If we look to Star Trek,
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it represented a world where there was no struggling working class and no sense of economic structure:
rather, food came out of magic machines and life was threatened by arch-villains as opposed to the
struggle of the masses. Even Star Wars Tatooine, despite the representation of slave labour within Star
Wars: Episode I: The Phantom Menace, is never seen as a class struggle but rather a personal issue
for young Anakin and his mother. And really, lets be honest: they dont even have it so bad when it
comes to slaves.
Joss Whedon, meanwhile, wanted to create a science fiction environment where things werent all
shiny, and where true political and social ramifications not only existed but set the stage for the action
that would follow. Firefly is not a glorified and idealized view of the future, but one that actually
features an acknowledgement of the impact of things such as base and superstructure on the production
of language, and as a result the production of literature. As a result, it is possible to view the production
of society within the series itself as a unique case study of the Marxist analysis we have discussed in
class.
Now, Marxist theory (in its vulgar form) operates best within a vacuum that doesnt take into account
the various complications to its structure. In other words, while theoretically strong, it actually fails to
engage with most practical concerns of society and complications that it doesnt take into account. As a
result, you might think that extending this theory into the vacuum of space might solve some of its
problems. I want to look at this view within two frameworks: one looking at the metafictional literature
(In lyrical form) presented within the series, and then the series itself as a Marxist form of literature.
The world of Firefly is a vast expanse of space where terra-forming allowed Earth to expand its
population onto a series of border planets. What makes this unique is that Earths leadership was
provided by, according to the scenario, a relationship between the Chinese and the Americans. After
this period, a civil war broke out between the Alliance (The government forces) and the Browncoats,
the civilian troops fighting for their freedom and autonomy. The loss of the Browncoats resulted in the
full takeover of the Alliance outside of the border planets, creating a centralized power who seeks to
dominate culture and society within its sphere of influence.
This present a unique set of political circumstances based on the Marxist principles of base and
superstructure. While the relations of production remain largely the same, although uniquely presented
within a science fiction series, it is the superstructure which is extremely complex. The ideology of the
society is a complex and oppressive government force that we never get a true sense for, and is a
unique view into the production of literature within this environment. As Eagleton notes when
discussing literature and ideology, vulgar Marxism tends to see literary works merely as reflections of
dominant ideologies (Eagleton 17).
The creation of literature within Firefly can most be seen in Season Ones Jaynestown, where the
ship visits a planet where a large working class rallies around the image of one of the shows most surly
characters, Jayne. After arriving, they discover that Jayne has become a folk hero, and they have
composed a song in his honour. This, unfortunately, is the closest that Firefly came to showing us the
creation of literature within this theory.
YouTube The Man They Call Jayne
This relates to Eagletons allusion to Althusser, in that ideology (And therefore literature, if were
following said complex mess), signifies the imaginary ways in which men experience the real world
(18). This song is disconnected from the politics, and demonstrates how ideology can define ones living
conditions and their desire for a saviour. They start to create ways to relate to the world, a simulation if
you will, to avoid the drudgery of their basic existence. This, of course, relates back to Jameson and the
concept of simulation, which relates back to Baudrillard, and emphasizes the degree to which literature
can gain this level of cultural and social significance. This song, as silly as it is, changed their lives and
united a society.
However, as in itself a created text, viewing it through a class-based lens of Marxism gives us a new
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sense of the shows ability to engage with those sectors of the population in a real fashion. As a piece of
literature, it is both cognizant and aware of the social structures, and is willing to (if anything) extenuate
them within its construction. The lower class becomes abandoned settlers slaving away while their
corrupt government fails to offer them proper protection and medical supplies, as opposed to just a
storyline that our heroes need to remove themselves from. In other words, it is more of a reflection of
society and its relationships than any other form of science fiction, and perhaps even closer to that
reflection than some realistic dramas.
A Marxist perspective (obviously) isnt perfect in regards to Firefly: the reflection is not overly precise
within a vulgar perspective, and we dont gain enough information about The Alliance to truly judge the
relationship that they have with other class systems within the structure of the series. However, what a
Marxist Literary analysis does is pinpoint and emphasize what makes Firefly different from other
science fiction designed for mass consumption: its real. It is about the grungy reality of space, as
opposed to its shiny futuristic spaceships, and in representing these class struggles it is raising issues that
other shows and films refuse to raise. Although I was admittedly in love with the show before this point,
viewing it through Marxist eyes has provided a greater understanding of its genius.
[Discussion and comments about the article can be found at Whedonesque.]
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September 28, 2007 at 7:08 pm
Alyson Buckman
Myles:
What do you do, however, with the irony created by Whedon here? This isnt just class struggle; Jayne
didnt intend to be a hero of the masses. We thus have the postmodern element here: tales of Robin
Hood become tales of a self-interested, cynical, violent thief who has to give to the poor in order to
save his own hide. This also leads us to the question: Which is more important, intent or consequences?
Is Jayne a hero whether he intended to be one or not? His breaking of the statue and his response to the
death of the young man who saves his life suggests a little bit more to the character than I suggest
above. You might also look at the position of Inara, who sells her body as commodity, in relation to
systems of production: does Marx make room for her in his theory? Or is that left to feminist Marxists?
Thanks for the fun read and the YouTube clip, one of my faves.
Alyson
Reply
Myles
Alyson,
I thank you greatly for pointing out Inara. In a more thorough analysis (aka if I had been able to extend
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this into a full-form essay), I would certainly have viewed Inara as a case for an extension of Marxist
considerations.
As for Jayne (I will concur on the postmodernism, but perhaps offer a more Firefly specific
perspective), I think that Firefly is a series that despite its ironic or sarcastic tone has always been about
the plight of the people first. If anything, I would argue that in addressing Jayne (The least humanitarian
of the bunch) they are solving their biggest problem in this regard. Mal may be disillusioned following
the war, but he at least made the sacrifice in taking on Simon/River. Jayne, meanwhile, never had that
moment where he understand the benefit of helping people, and I think that Jaynestown offers him that
perspective. Irony in this case is not a means to trivialize this change but rather to better coach the
bitter Jayne through to his own spiritual awakening to the plight of the common man.
I guess, for me personally, the series boils down to Mals speech in Serenity (Film) where he makes the
decision to risk the lives of his crew in order to make people aware of what happened on Miranda. I
would then argue that the issue of intent and consequences is resolved by Jaynes eventual turnaround
that you describe. I think that if Marx saw the differences created by Jaynes actions (Cash, Hope,
Higher Spirits), Im pretty sure hed ignore the lack of intent and believe that other should follow his
example. And from a Marxist perspective, literature is a mediation of society: it would have to mediate
intent and consequence, and Im fairly certain that people would be more likely to jump to the He
reformed and decided to be our savior bandwagon as opposed to Hes still a ruthless scumbag.
Which is all to say that I find Firefly entirely, entirely fascinating, and am currently wholly impressed
by both your response and the response over at Whedonesque (Especially both my duh statement
[Yay for clunky transitions] and the season one slip [I can dream]). Not only is it great to enter into
this dialogue (Im actually writing a Thesis on Battlestar Galactica within similar grounds), but its also
an awesome way for Firefly to live on beyond its television/film legacy.
Thanks again!
Reply
tsera
Thank you for the fascinating read.

Kudos to you, fellow Browncoat!
Reply
September 29, 2007 at 4:15 am
Deborah Frankel
I linked to this from Whedonesque and enjoyed it. The suffering caused by class inequality is clearly a
major concern of Whedons in both the series and the movie. Agree with you about Inara and Jayne.
The realm of science fiction is a world in which idealist systems of governance and society have been
the relative norm. Not in the literature. In The Space Merchants, the US government is a puppet and
real power lies with the advertising industry, which wants to turn everyone into morons so it can sell
more products. Authors as different as Heinlein, LeGuin and K. S. Robinson have depicted revolts of
colonized worlds against oppressive governments. H. G. Wells, a Socialist, imagined a future of class
division so extreme that the human race becomes two species. 1984 and Brave New World are
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dystopias about totalitarian governments.

A nitpick: extremely unique? As an honours English student, Im sure you know that there are no
degrees of uniqueness. A thing is unique or it is not.
Keep up the good work.
Reply
Myles
Deborah,
I am going to edit this now to state something along the lines of television and film examples. I really
hadnt intended to say anything more than that, because I think that the issue I want to raise is how the
literature intended for mass consumption often removes those elements in favour of the shiny
standard. Which doesnt quite get through with my horribly general statement. What Im clearly
learning is that I should have Firefly fans edit all of my papers.
As for extremely unique, youve discovered my terrible flaw: adding extra words that I dont
particularly need. Baddd habit. Which will now be edited.
Thank you for reading, and for commenting. I really appreciate it.
Edit: To address some of the things over at Whedonesque that I cant due to closed registration:
Saje:
Class actually crops up a surprising amount in sci-fi given how US led the genre is (though its fair to
say the verse has one of the better thought out class systems and short as the series was Joss also
had more time than most films/books do to explore it).
What I think does make Firefly (Or the verse of course) unique is that its class system is the very
definition of its environment. I would argue that some of the examples you provide (Which were edited
out for space, Ill have a link to Whedonesque above shortly) are definitely examples of the
representations of class, but in the end the class struggle doesnt necessarily define the core conflict of
those particular works.
Also, while I am all for the distinction that science fiction need not include space and aliens to be
science fiction, I think Id be hard-pressed to define Armageddon as science fiction (although I know
that you werent really intending on that being your most serious example). While the others all have
elements of class structure, I dont feel like class conflict was as integral to their makeup; that being
said, as I havent seen Babylon 5 or some of the other examples provided, I cannot claim to be able to
cover all these bases. And I ignored Battlestar Galactica too, but only as a time issue and to save
something for my thesis.
Reply
wolfger
Video no longer available.
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Reply
Myles
This is incredibly unfortunate, especially because it means that I killed it. And thus feel fairly terrible,
and wont link to another one.
Reply
One Week Later: Hey! Nielsen Reflections Cultural Learnings
[...] be more than willing to be involved in such a system, but part of me has been writing essays on
Marxism in Firefly and thinks that a more rigid class structure might defeat the purpose of this being
the [...]
Reply
October 8, 2007 at 7:16 am
Meshon Cantrill
I would love to hear from you about Acadia as a suitable school for graduate studies. I found your site
because I typed in two key terms from my thesis proposal (currently under construction): Beowulf and
Battlestar Galactica. Its totally cool to see someone else thinking about these things.
For me the initial moment of conjunction was in season 2 (I think), an episode called Scar. There is a
hall scene at the end of that episode that really reminded me of Beowulf, when Starbuck recites a
litany of the dead.
And theyre drinking of course.
Reply
October 18, 2007 at 10:38 am
You Cant Take the Sky From Me, because The Leader says its for The Proletariat the lower
casefiles
[...] mrbitterness @ 8:38 pm When I logged in, I was accosted by a blurb for a post called You Cant
Take the Sky From Me: A Marxist Reading of Joss Whedons Firefly The Myles Fi. Some guy
named Myles wrote it for a class, and it shows; it takes a good bit of selective [...]
Reply
December 27, 2008 at 9:56 am
Frercevejah
Hi your website is cool

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Reply
July 17, 2009 at 7:15 pm
Curse Your Sudden but Inevitable Betrayal! Lost Between the Letters
[...] turns on the poor steg he cries out In my quick web search to find the above image I hit this
interesting blog post analyzing Firefly through a Marxist lens. While the author is focusing on things
other than my [...]
Reply
November 25, 2009 at 11:38 am
Chris
Watch the pilot again. One of the captains lines says something close to, Isnt that what government
is for? Gettin in peoples way? This show is about as far from Marxist as you can get. Theres no class
struggle, its a struggle against a tyrannical government that cant help forcing people to do what it
thinks is good for them.
Reply
July 21, 2010 at 5:22 am
gaucheBuittee
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September 28, 2007 in File #1, File #3 | Tags: Firefly, Marxism

A MARXIST READING OF JOSS WHEDONS FIREFLY

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Thank you for the fascinating read.

dystopias about totalitarian governments.

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Hi your website is cool

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