The Ballads of Malcolm Reynolds

Over on Bluesky, Sean Kelly says:

Malcolm Reynolds starting off as an abusive prick who all the women love anyway because deep down, he’s a good person is such a case of Joss Whedon telling on himself.

Kelly is smart about this sort of thing. I see why he says this. As someone who watched — twice — all of Whedon’s perverse masterwork Dollhouse, I recognize him frequently revealing his misogyny, narcissism, and abusiveness in his storytelling. I see plenty of those problems in Firefly.

But on this point I see something else going on, because we know quite a bit about what Whedon wanted to do with Firefly and with Malcolm Reynolds. A few years back, I posted a quote from Whedon on this very subject:

Mal is somebody that I knew, as I created him, I would not get along with. I don’t think we have the same politics. But that’s sort of the point.

The series offers Mal to us as a noble scoundrel loved by all of the women aboard the Serenity, but not because Whedon wanted to tell that story, quite. Whedon created that under protest, as an adaptation to Fox’s insistence that the central character of the ensemble could not be the utter bastard he wanted to examine. Whedon filed down Mal’s rough edges — still an abusive prick, but less so — and made the whole ensemble less fractious, more loving. That paradoxically meant that the story did less work to justify the sympathy for Mal it asked for, creating a dissonance which made Kelly itch.

We can glimpse the different Malcolm Reynolds Whedon wanted to give us in the pilot which the studio rejected. The first sequence introduces Mal as a callously violent soldier smugly fighting for the Space Confederacy. In the second sequence, we see that losing the war broke something in him, turning him into an utter shit. He is insulting and disrespectful toward a sincere priest and a self-possessed prostitute! Had Whedon been able to figure out a way to justify including a dog in the scene, Mal would have kicked it.

In that pilot, yes, Kaylee does love Mal. Whedon has said that in writing the show “when Kaylee says it, we believe it” because she is a pure soul, wise enough to fall in love with the real hero of the Serenity crew before his heroism became apparent. But her love for Mal is the only thing in the pilot telling us that this asshole is worth caring about. Even Mal himself tells us otherwise.

In that pilot, River does not love Mal. Well, she doesn’t get to say much. In the second first episode, River says in one of her fugues of holy madness, “Mal. Bad … in the Latin.” The show uses River’s inhuman insight to tell us things, much as Whedon says it uses Kaylee, so that is stark. River comes to love Mal as the whole crew do, but along the way River — who is a scary murder-monster — often fears Mal.

In that pilot, Zoe does not love Mal. She is utterly loyal to him, and she trusts him. The show hints that she feels indebted to him for something he did in the war. But that is not love. In the Serenity film, Whedon tells us very clearly that Zoe only loves only one person in the ’verse, and it ain’t Mal. In the pilot it seems that Zoe does not even like him, though maybe she hopes to someday get back a better Mal she knew before the war broke him.

In that pilot, Inara does not love Mal, despite genre savvy telling us that Inara & Mal have romantic tension. What keeps them apart? Mal being terrible. Inara finds Mal attractive but dislikes him, for good reasons. (In this do see a different accidental confession from Whedon, resentment that women like Inara often feel attracted to men like Mal, an ugly note which shows up many times in his work.)

The changes in charactization after the pilot are significant but not jarring because Whedon and his team are crafty, largely just fast-forwarding to a state Whedon had meant to work hard to earn over a few seasons of storytelling.

He did a similar trick in wrapping as much as he could of several TV seasons’ worth of storylines in the feature film Serenity, including an abbreviation of Malcolm Reynolds’ arc. The series gave us Mal living by a code of honor which emphasized total dedication to his crew. In the film, he realizes that caring for a small circle of people is not good enough. He has to care about everyone. His moral obligation to the ’verse outweighs his own life and even the lives of the people dear to him.

Had Whedon gotten to make the Ballad Of Malcolm Reynolds he originally imagined, I doubt that many people would love it the way they love the cozier Ballad Of Malcolm Reynolds we got. I wish I could reach into a parallel timeline to watch the story we lost; it would have been a hell of a thing.