Companions, Browncoats and Mechanics: A Media Case Study on the Roles of Women in Joss Whedon’s Firefly

What better way to display the evolution of women in the media then by using the television show Firefly created by Joss Whedon, the brilliant mind that created Buffy the Vampire Slayer. Whedon’s debut on the small screen with Buffy brought the image of a butt-kicking teenage girl from the Valley who is the only person strong enough to hold back the forces of Hell. So it seems fitting that his third venture in television drama is a blend of science-fiction and western with gun-toting women, noble courtesans called Companions and a cheerful young woman who can hear the “voice” of machines.

Firefly was conceived after Whedon read a book chronicling the Battle of Gettysburg in the American Civil War as well as one featuring Jewish partisan fighters in World War II (Firefly, n.d.). From there Whedon became fascinated with the idea of following people who fought on the losing side of a war, thus came the short-lived fourteen episode television show. The show chronicles the adventures of a nine member ensemble cast aboard a Firefly-class space ship named Serenity. Set in the year 2517 after the death of the planet Earth (Firefly, n.d.), the crew of Serenity make ends meet by smuggling items throughout the “verse.

Lead by Captain Mal Reynolds a former Independent, or browncoat, sergeant who fought against the Unification of planets and lost along with his second-in-command the gun-toting former browncoat Zoe Alleyna Washburne. Flying Serenity is the geeky and at times timid Hoban “Wash” Washburne, yes he”s Zoe’s husband, with the help of the spunky young ship’s mechanic Kaywinnit Lee “Kaylee” Frye. If that didn’t seem random enough there’s the hired muscle in the form of a man named Jayne Cobb, a minister, or as they call them shepherds, Shepherd Book with a mysterious past that grants him extensive knowledge of hand to hand combat and weapons. Offering some class to Serenity is Inara Serra, a Companion described as “the 26th century equivalent of a courtesan [and/]or geisha” (Firefly, n.d.). Rounding out the crew are the fugitive Tam siblings. Dr. Simon Tam is a former trauma surgeon who gave up everything to save his genius little sister River from the Alliance who was playing with her mind.

With such a blend of unique characters in a one of a kind television show it makes it perfect to analyze the evolution of women’s roles. For the last forty years in advertising women have been mainly portrayed as either sexual objects or homemakers (Carpenter & Edison, 2005), as if those are the only roles women play. On television women have evolved from being the Mrs. Cleaver and Mrs. Brady to being Wonder Woman, Xena or a Desperate Housewife. None of which is to say that this still isn’t an issue for women today. If you dig deep enough into any female role on television today you can find the remnants of the old stereotypes (Consalvo, 2004).

To expound upon this idea that innovation holds a kernel of stereotype, let’s begin by examining the women of Firefly. In order to gather all the forthcoming observations viewing the pilot episode began the wheels turning for examining gender roles in the media.

Let’s begin with Inara Serra. As explained before she is a Companion, and like in the days of the courtesan they are treated as high class noble women (Firefly, n.d.). All Companions are trained and educated in not only the sensual arts but in the art of conversation as well. They are all part of a respected guild throughout the “verse designed to help each Companion conduct business safely and help them to screen their clients.

All of this differs from the usual stereotypes of what a courtesan would be like. Stuart Hall (1997) defines a stereotype as a meaning fixed to a group of people. Typically a courtesan would play into the idea that women can only use their sex appeal to get what they want (Davidson, 2004). Like in the film Moulin Rouge, in order to gain financing to turn a brothel into a theatre the top courtesan has to sleep with a wealthy duke.

However Inara can be seen as the exception to that idea as well as most Companions. Throughout the course of the pilot episode she can only be seen once trying to change Mal”s mind on a decision by flirting with him. But when that does not work instead of pouting about it she simply threatens to leave Serenity, in essence to take away the respectability the ship gains by Inara’s mere presence.

The differences Inara holds go far beyond this one example. After a few shots of the interior of Serenity the viewer can notice the mostly metal and dirty variations of the walls. However the walls of Inara’s shuttle are covered in rich colorful fabrics, creating an atmosphere completely separate from the ship itself. Quite often in the course of the pilot Inara is visibly separated from the rest of the crew dressing in a purple gown that speaks of her wealth. All of these things add to the persona of the wealthy business woman that encompasses part of who Inara is.

She is shown to be a compassionate caring woman (Davidson, 2004), and not the typical ruthless business woman. There is a point when Kaylee is shot and it is Inara who is first to her side. Inara does all she can to look after the young woman while she is bleeding. Kaylee is the only member of the crew that Inara is observed expressing her honest feelings to. There is no other point in the pilot episode that the viewer witnesses Inara open up than when she’s speaking to Kaylee, which indicates how important the young mechanic is to the Companion.

So what is it that makes Kaylee so different from the rest of the crew? Is it the fact that she is a mechanic? Put away the stereotype that all mechanics are oversized men in coveralls. While Kaylee is seen mixing Oriental printed shirts with green coveralls that’s not all she wears. A scene in the pilot shows the young woman dressed in a bright blue Oriental printed jacket to hide the coveralls while recruiting passengers to fly on Serenity. Another way Kaylee breaks the stereotype of a mechanic is that she’s had no formal training in her trade. During a scene with the whole crew seated around the mess room table she explains to Simon that “machines just got workings and they talk to me” (Whedon, 2002).

All these things don’t make Kaylee immune to stereotype either, only she carries the stereotypes of a young woman. During that same mess room scene the viewer sees Kaylee stumble over her words as well while speaking to Simon telling him that he is special because he can “fix people” (Whedon, 2002). Also when she’s shot later in the episode she mutters half sentences in disbelief as to why it happened. Quite often Kaylee is the cheerful bright side, looking at any situation and finding something to smile about. Early in the episode when it’s learned that Serenity is to take on passengers she gets excited. Kaylee acts as a middle ground between the two older women on the show. While Inara is the lady of Serenity, Zoe is the strategic warrior woman.

Which brings us to the wonder who is Zoe? The pilot episode opens near the end of the Battle of Serenity Valley between the Independents and the Alliance. This battle is what ended the war, their version of the Battle of Gettysburg. The viewer’s first look at Zoe is dirty, toting a large gun and wearing body armor. Not exactly the typical image of a woman who can kick ass and take names that the media gives us. With images of women like Xena, Buffy and Sydney from Alias the stereotype has been cemented that in order to be a “true” warrior woman you have to be better then the boys while wearing as little clothes as possible (Huff, 2004). Not Zoe, not only is she always seen in pants and long sleeve shirts but going in the battle she’ll put on more clothes in the form of a bullet proof chain-link vest.

So like other warrior women before her maybe Zoe isn’t good at keeping a man? Nope that’s not true for her either. Zoe is married to Serenity’s pilot Wash. The only time the viewer really sees Zoe acting vulnerable and affectionate is when she’s around her husband. When the viewer first watches the couple alone together they have their hands resting on each other’s hips as they talk and their head leaned close together. Of course everything for them isn’t wine and roses. A general matter of tension between Wash and Zoe is the fact that she is typically strong willed and loyal to most decisions Mal makes. But what married couple doesn’t have their points of contention (West, 2004)?

Through all of this it’s easy to see how important a role Zoe plays as second-in-command. Near the end of the pilot Mal depends on Zoe to fight at his side as a deal goes south, he even admits that she was right to question his decision to make the deal. Following that there is some really tricky bit of flying Wash has to do and where is Zoe? Right behind his chair with a supportive hand on his shoulder. Now Zoe is not to be lumped in with Inara for they both have very different reasons for the ways they support people. Zoe backs Mal because during the Battle of Serenity Valley he saved her life, which gained him her loyalty (Huff, 2004). Then there’s Wash whom she loves because they understand each other’s differences and she will keep her at times jittery husband calm. Zoe is respected as one of the guys while Kaylee and Inara are considered women.

All of these mixed bits of analysis and interpretation boil down to how Firefly has innovated the role women can have while keeping a few traces of stereotype. Now with Kaylee there is what Campbell (2007) would call puffery, usually referring to ads that contain hyperbole and exaggeration, but only as a young woman. While her role as ships mechanic with no assistance is a giant step-up at times it can almost be overshadowed by her almost rosy view on life.

Zoe and Inara on the other hand, don’t contain this same type of puffery. Inara has brought back to media the image of a strong woman who is still able to be feminine. All too often if you think of a courtesan the preceding thought is whore. Nothing about that word captures the elegance and beauty that Inara embodies (Davidson, 2004). Then Zoe has brought forth two realistic images to the viewer. First is the fully-clothed witty warrior woman who doesn’t need to be rescued (Huff. 2004). Then through Zoe and Wash viewers are given the first realistic portrayal of marriage to hit the small screen (West, 2004). They fight at times sure but the viewer never sees or hears them wishing they weren’t married.

Bottom line from all of this information is that stereotypes don’t need to rule our lives or what we can see women becoming. Firefly is a powerful example of keeping little kernels of stereotypes while shattering the rest of it. If it’s intentional or not the things each person views on television influences their ideas about the future and how they view themselves. So next time a feeling of depression comes over you because you don’t fit the stereotype of a woman, remember the women of Firefly in all their gun-toting, grease covered and sensual glory.