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“I’ve often thought, and I’ve said this before whenever asked, ‘where do you think Zoe is, how do you think that story would continue?’ and I always say I was pregnant in Serenity. I was pregnant, and I was pregnant with Wash’s child. I do think that somewhere there is this beige, curly red-haired child running around the verse.” - Gina Torres

“I’ve often thought, and I’ve said this before whenever asked, ‘where do you think Zoe is, how do you think that story would continue?’ and I always say I was pregnant in Serenity. I was pregnant, and I was pregnant with Wash’s child. I do think that somewhere there is this beige, curly red-haired child running around the verse.” - Gina Torres

(via fuckyeahfirefly)

Filed under firefly serenity zoe wash you can't take the sky from me

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Time for one more clip and one more question. The clip is Mal talking to Simon at the end of the pilot. Mal notes that they’re still flying. Simon: “That’s not much.” Mal: “It’s enough.” Jensen asks Whedon about how “We’re still flying” has become a big mantra for the fan community, asks him again what the fans mean to him. Whedon’s struggling here. He’s overcome, and the fans call out, “We love you, Joss!” Fillion is crying for real, has very red eyes, and now there’s a standing ovation, again, and Glau is crying, and now the actors are all giving Whedon a standing ovation as well. Maher and Glau hug, Baldwin pats his heart to show how touched he is. Whedon: “Only an idiot would actually try to follow that with a sentence. When you come out of a great movie, you feel like you’re in that world. You come out of ‘Brazil,’ and suddenly everything is duct piping and everything’s weird and too much. You come out of certain things, and the world has become that. when you’re telling a story, you’re trying to connect to people in a particular way… The way in which you guys have inhabited this world, this universe, have made you part of it, part of the story. You are living in ‘Firefly.’ When I see you guys, I don’t think the show is off the air. I don’t think there’s a show. I think, that’s what the world is like. I think there are spaceships, there are horses, and our story is alive.” More applause, and then another round follows as the actors wave to the crowd one more time. 

[x]

(Source: roymustache, via thewinterarcher)

Filed under firefly serenity joss whedon can't stop the signal love love love gif set

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CFP: Race, Ethnicity, and Nationality in the Works of Joss Whedon (edited book collection)

magalimoo:

planetesauvage:

Editors: Mary Ellen Iatropoulos and Lowery Woodall
Deadline: July 1st, 2011

Description: “Not exactly a haven for the brothers, strictly the Caucasian persuasion here in the ‘Dale’,” wryly muses Mr. Trick during his first moments in Buffy The Vampire Slayer. Indeed, with the majority of characters in of each of Joss Whedon’s televisual works being Caucasian and of American, British, or otherwise “Western” cultural descent, whiteness and white privilege are narratologically centered yet inconsistently articulated throughout the Whedonverses. Similarly, diversity of race, ethnicity, and nationality rarely occupy the foreground of the narrative within Whedon’s works, and what representations do exist of people/communities of color, indigenous peoples, and “minority” cultures have been hotly contested by fans and scholars alike. While several recently published books contain chapters devoted to exploring issues of race, ethnicity, and nationality (The Literary AngelInvestigating Firefly/SerenityReading Angel), and though each year many presentations at pop culture conferences touch upon these topics, no single volume devotes itself exclusively to investigating the ways in which race, ethnicity, and nationality operate in the Whedonverses.

To fill this gap, we are soliciting abstracts for an edited collection of essays tentatively titled Race, Ethnicity, and Nationality in the Works of Joss Whedon. We are interested in any and all topics that investigate the role of race, ethnicity, heritage, nationhood, nationality, culture, identity, and social hierarchy/ privilege in the Whedonverses. Essays may approach Whedon’s works from a variety of disciplines, as long as they address how race, ethnicity, nation, and nationality shape, function in and/or complicate the production realities  (staffing, producing, casting, etc. of the shows themselves), characters, narratives, and/or interpretations of Joss Whedon’s works.

Topics: Essays may address any of Joss Whedon’s televisual works (Buffy the Vampire Slayer, Angel, Firefly/Serenity, Dollhouse, Dr. Horrible’s Sing-Along Blog) and/or comics (Buffy Season 8, Fray, The Astonishing X-men, Tales of the Vampyres, Tales of the Slayers, Sugarshock). Essays may address the “Whedon” school of writers (e.g. Jane Espenson, Marti Noxon, Drew Goddard) and their works outside the Whedonverses, but only insofar as they pertain to examining Whedon’s work.

Possible topics include:

  • Constructions of nationhood and/or nation-based identity (i.e. American, British, Jewish, etc.)
  • Casting controversies: race, role, and representation
  • Racism, racial stereotypes and/or internalized Otherness as narrative device and/or characterization tool
  • Constructions of whiteness in the Whedonverses
  • Treatment of indigenous people and/or historically oppressed cultures (i.e. colonialism, imperialism, Orientalism, etc.)
  • Presence/absence/erasure of race/ethnicity in depictions of space and place
  • The villainization/victimization of ethnicity
  • The Otherness of Slayerdom or Demon-ness
  • Fantastic embodiments of lightness and darkness
  • Critique of representations of specific races/ethnicities through individual characters; may be recurring (i.e. Gunn from Angel, Ivy from Dollhouse) or non-recurring (i.e. Ampata from “Inca Mummy Girl” etc.)
  • Close readings of individual episodes or songs that explicitly address themes of race, ethnicity, and nation/ality (i.e. “That Old Gang Of Mine” fromAngel)
  • Race, ethnicity, nationality, and language (tensions between satire and stereotyping, etc.)
  • Human/vampire relationships as miscegenation
  • Contemporary political commentary within Whedon’s work with regard to race and ethnicity (i.e. affirmative action, reparations, housing inequities, etc.)
  • Explorations of intercultural dynamics across imagined racial boundaries/ demon-human hybridity



TimelineProposals will be due July 1st, 2011. Please submit proposals of approx. 500 words as Microsoft Word document (.doc or .docx) attachments to: maryiatrop@gmail.com and lowery.woodall@gmail.com.  Please include both your name and your contact information on your proposal.

We will respond to proposals by July 15th, 2011. Essay drafts will be due by September 15th, 2011, and final drafts will be expected by December 15th, 2011. Final essays will be approximately 6,000 words.

Contact Information: We prefer to communicate via email (see above), but we can also be reached at the following postal addresses:

Mary Ellen Iatropoulos State University of New York, New Paltz JFT 714, 600 Hawk Drive New Paltz, NY 12561

Dr. Lowery A. Woodall III Millersville University, Hash 169 10 North George Street Millersville, PA 17551

SOURCE

Signal Boost. I know a lot of folks who follow me literally have drafts of brilliant essays ready.

(via ladyspirits)

Filed under joss whedon buffy angel firefly serenity dr horrible dollhouse academia race ethnicity nationality