Tag: smash the kyriarchy

Top Ten Books for Firefly Fans

  1. The Long Way to a Small, Angry Planet – Becky Chambers. It’s been noted across the internet that this book is pretty much Firefly with aliens. It’s an episodic amble across the galaxy, complete with crew tensions, individual character arcs, space pirate invasions and dodgy cargo. There’s even a bubbly lady engineer.
  2. Consider Phlebas – Iain M. Banks. Consider Phlebas is a lot chillier than Firefly, but it wears the same kind of pessimism about the universe. It centres on a mercenary ship, the Clear Air Turbulence, whose crew feels like Serenity‘s without the rose-tinted goggles: a group of ruthless pirates without loyalty, love or hearts of gold, who kill without a moment’s thought.
  3. Ancillary Justice – Ann Leckie. Leckie’s Ancillary trilogy is all about doing what you can in your small corner of space, which is very much a thematic core of Firefly‘s. Its universe also feels as culturally immersive as Firefly‘s does, and it’s about resisting a totalitarian government.
  4. The Guernsey Literary and Potato Peel Pie Society – Mary Ann Shaffer and Annie Barrows. This may seem like a weird pick: it’s not SFF at all, but an epistolary novel about how the people of Guernsey survived the Second World War. But, like Firefly, it celebrates the power of community to resist and overcome evil.
  5. Nova – Samuel Delany. Another space-pirate story, this one’s about the importance of the ordinary and the powerless.
  6. The Hitchhiker’s Guide to the Galaxy – Douglas Adams. It’s set in space! I’m not sure why I feel like this should be on this list. It’s got Firefly‘s lightness of touch, its irreverence for authority.
  7. Temeraire – Naomi Novik. Although it’s a Regency military AU with dragons, I think Temeraire has something of Firefly‘s emotional heart, as its hero Laurence carves out a space for empathy in his rigidly defined social world.
  8. Mortal Engines – Philip Reeve. This is a steampunky story about a far-future world in which cities eat each other to survive. It’s got Firefly‘s beaten-up, lived-in aesthetic, and its deep, cynical distrust for capitalism.
  9. Railsea – China Mieville. Railsea‘s characters are, like the crew of Serenity, nomadic: the novel’s set on a train that hunts moles through the desert of capitalism. It’s about radicalism and salvage and storytelling, all concerns of Firefly‘s.
  10. Station Eleven – Emily St John Mandel. This is about a travelling theatre wandering through an America devastated by superflu. It’s nowhere near as depressing as it sounds: again, it’s about carving a community in circumstances that seem hostile.

(The prompt for this post comes from the Broke and the Bookish’s weekly meme Top Ten Tuesday.)

Doctor Who Review: Oxygen

This review contains spoilers.

Well, the space zombies were not actually as bad as I feared. We’re not in the-moon-is-an-egg territory yet.

Oxygen is a horror story whose ultimate villain is capitalism. Following a distress signal, Bill and the Doctor find themselves on board a mining space station whose crew is nearly all dead – killed by their own spacesuits. Those intelligent spacesuits are now hunting down the survivors, taking their dead occupants along for the ride. So: space zombies.

At root, Oxygen is satire. Its conceit is that, this far out in space, oxygen is enormously valuable; so the corporation running the station supplies oxygen “for personal use only” – through the suits, rather than filling the station up with air. If the workers aboard the station want more oxygen, they have to buy it. Capitalism at its most efficient! It’s an exaggeration of the kind of financial logic that makes budget airlines charge you to check in. And the Doctor’s ghoulish conclusion at the end of the episode is that the suits (there’s a wonderful play on words that equates the spacesuits with “suits” – the accountants, lawyers and compliance officers popularly equated with The Man, and popularly portrayed as zombified by such allegiance) are murdering their occupants to save money – the crew have become unproductive and are to be replaced by a fresh one, and what’s the point of giving idle hands valuable oxygen? (And that sentiment feels chillingly Victorian, or even Trumpian.)

I think the episode’s power as satire, though, is diminished by its failure to understand capitalism as a truly overarching social system. I am aware, by the way, that this is but an episode of Doctor Who and I cannot expect it to do everything; but I do think there are a couple of ways Oxygen could have gone to be a little less…mendacious about capitalism’s power.

The moment of the episode that really sticks out to me here is the moment – in many ways the emotional crux of the episode – when Bill’s spacesuit malfunctions, anchoring her immovably to the station floor while an undead horde approaches. The survivors try to carry her, but are informed by the malfunctioning spacesuit that this is “an illegal move”. “Health and safety”, one of the survivors explains. It’s funny and makes a kind of sense against the satirical framework of the episode up until that point, but, crucially, makes no sense when the solution to the spacesuits’ behaviour is revealed: why would a company so obsessed with the bottom line that it’s prepared to kill its workers care about health and safety? Health and safety doesn’t exist because it’s intrinsically good for companies; on the contrary, it gives rise to a hell of a lot of paperwork they could probably do without. Health and safety exists because legislation has ensured that it potentially costs a company much, much more in damages not to do it. But, if this is a company that can, again, kill its workers (and I definitely read this as a systematic practice, not an isolated incident), then surely we can assume that no such legislation exists any more?

My point is, I suppose, that, far from being the party-pooping capitalist gremlin it’s popularly imagined to be, health and safety legislation is actually a quite astonishingly effective way of making sure that companies don’t kill people wantonly any more. And Oxygen‘s failure to recognise that is surely a failure to imagine capitalism properly.

The other moment that takes the wind out of Oxygen‘s sails, so to speak, is another throwaway line, this one at the end of the episode: the Doctor tells Bill that the upshot of the events on the mining station is that two of the survivors go to “head office” and make a complaint. And so ends capitalism.

What?

I mean, this underestimates capitalism’s ability to defend itself to an extent that’s actually laughable. And, again, it’s supremely easily fixed. Perhaps the company folds, and everyone sees that killing people in the name of efficiency is not good for the brand. Perhaps the legal battle stretches on for years, and in the end new, far-reaching legislation is put in place.

But the conclusion “and they all lived happily ever after” is one that doesn’t even make sense for Doctor Who‘s moral universe, and it certainly isn’t helpful for the project of the episode. The way out of capitalism isn’t whistleblowing alone; it’s years and years of legislation, of hard work that isn’t monetised, of sustained political activism. We can start at whistleblowing, certainly. But that’s not where we’ll end. And, generally, the Whoniverse tends to resist such easy answers.

At a micro level, then, there’s a lot that’s good about Oxygen: apart from the satirical elements I’ve mentioned above, the Doctor has a great line about being responsible for bad stuff:

You know what’s wrong with this universe? Believe me, I’ve looked into it. Everyone says it’s not their fault. Well, yes, it is. All of it. It’s all your fault. So, what are you going to do about it?

Which to me looks like a recognition of the state of complicity that capitalism puts all of us into; although the Doctor is feeling guilty about leaving Bill behind to be potentially zombified at this moment, so I think there’s a possibility that this line unhelpfully conflates capitalist complicity with the Doctor’s patriarchal god complex. Still.

At the macro level, though, Oxygen doesn’t quite do enough work to give itself real teeth as a satire. “The Doctor against corporate greed” has been done a number of times before (see, for example, Sleep No More, which even had a similar industrial spaceship setting), as has the link between zombies and capitalism. The latter’s practically a trope now, in fact. Oxygen is a better episode than Knock Knock; but it’s not exactly good, either.