To highlight the Prometheus Awards’ history and make clear why each winner deserves recognition as a notable pro-freedom work, the Libertarian Futurist Society has been publishing since 2019 an ongoing Appreciation series of all past award-winners.
Here is an Appreciation by Prometheus-winning novelist Travis Corcoran for writer-director Joss Whedon’s film Serenity, which received a Prometheus Special Award in 2006.
By Travis Corcoran
Like almost every science fiction fan, and like almost every libertarian, I was a fan of the TV series Firefly from the first episode of it I saw.
Firefly, and later Serenity, are about several things that are near and dear to the hearts of liberty-lovers: the frontier, voluntary – not coercive – exchange, an uneasy relationship with authority, self-reliance, and the trade-offs that inevitably come from uncompromising moral codes, nonconformism, and a healthy skepticism for the default paths through life.
Continue reading Self-reliance and libertarian ideals on the frontier: Prometheus-winning novelist Travis Corcoran on Joss Whedon’s Serenity, the 2006 Prometheus Special Award winner.
Robert Downey Jr., who portrays Tony Stark/Iron Man, at San Diego Comic Con International in 2014. (Creative Commons photo by Gage Skidmore).
By William H. Stoddard
The films that make up the Marvel Cinematic Universe are an unusual, and possibly unique artistic project: a cinematic series set in a shared fictional universe, one that develops from film to film, with later films referring to earlier. Of course there have been trilogies and other series of films, but this design not only is at a greater length, but has multiple branches following different groups of characters. There’s a main storyline that began with The Avengers and progressed through Captain America: The Winter Soldier, The Avengers: Age of Ultron, Captain America: Civil War, and The Black Panther, but other films have told different types of stories: a mock epic in Guardians of the Galaxy, a caper film in Ant-Man, and a story of supernatural initiation in Doctor Strange, for example.
The latest film, The Avengers: The Infinity War, attempts to bring these all together into a climactic story—or at least, the first half of one; it ends with a cliffhanger. I went into the theater not sure this film would be worth seeing, and I can see some flaws in it, largely reflecting the vast differences in tone among the earlier films; but the overall result was impressive and moving. And I think this largely reflects the central role of theme in the script.
Continue reading Review: Avengers: Infinity War