So SyFy has a new show out called Killjoys. Check out the trailer:
SyFy’s Killjoys is about space bounty hunters, y’all!
So, let’s talk about why I love this show.
For me, this show feels like it could happen in the same universe as Firefly. The world, the tech–I have no problems imagining them running into Mal and the crew from Serenity. The Company is this overarching conceptual villain, much like the Alliance. They’ve set up this ruling class society that makes for all kinds of struggles between classes, with lots of people being subjugated–making for lots of CONFLICT CONFLICT CONFLICT. There hasn’t been a boring episode yet, and each one seems to unfold a new layer for the viewer.
- The lead badass is a woman. Dutch. Oh, I have so, so much love for Dutch. She’s this marvelous blend of Mal and Zoe with a bit of Inara thrown in. She’s sassy, sarcastic, and kicks so much ass. And the reason for WHY she’s so good at kicking ass lies in the mysterious past that unfolds over the course of season 1 (final episode of that tonight), which is a metaplot that’s sparked my interest from the word go.
John. Played by Sean Ashmore, John is this wonderful, snarky, science geek badass, who can fight and will put himself on the line for family–including the one he’s made for himself. He’s loyal and wonderful. Oh, and their ship, Lucy? Totally in love with him.
- Davin. John’s brother Davin doesn’t have the same growling appeal as Jayne, but he’s absolutely got the tortured hero down. He’s whatever this universe’s version is of an Army Ranger or Marine–an ex-soldier who doesn’t know what to do with himself outside the military. Courtesy of his brother, he gets pulled into their Killjoy team, which makes for some interesting intra-team conflict and some cool dynamics when he busts up in the middle of the long-term partnership between John and Dutch. He’s got his ownbackstory mystery that’s been slowly unfolding over the season.
- Well choreographed fight scenes and good pacing. In general, I’ve been really happy with the fight choreography. It’s gritty and sometimes bloody, and just well done. The writing of the show itself has good pacing, very little drag time. They consistently deliver a solid episode, with resolution for whatever the episode problem is, along with an advance of the various threads of metaplot and further illumination of the world. I’m picky about such things, so this pleases me muchly. All in all, I call this a winner, and I hope like hell it doesn’t get canned.