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Love, Sex and Salvation in the Whedonverse

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Love, Sex and Salvation in the Whedonverse Queering Messiahs 177 Queering Messiahs: Love, Sex and Salvation in the Whedonverse by Sofia Sjö The article explores the question of religion and sexuality using popular cultural representations as a discussion partner. The focus is on the sexuality of savior characters in the imaginary worlds of the American film and Tv-series maker Joss Whedon. The analysis shows that several references to Christianity and obvious Christ characters can be identified in the material, nut also clear challenges of Christian ideals. The complex portrayals of both saviors and sexuality in the Whedonverse are argued to point to some ineresting and noteworthy aspects of sex and Christianity in a contemporary context. issues that are brought to the surface refer to the importance of sex and love and problems with seeing sex ad inherently good or bad. In the article, the essentialness of a space where the issue of religion and sex can be explored is stressed and the need for the discussion to continue is underlined. 1. Introduction To understand the world of today one cannot ignore the worlds of popular culture. These imaginary worlds both influence and reflect us. In them we can find traditional thoughts and ideas, but also fascinating challenges of our ideals and practices. Therefore, it is not that surpris- ing that many scholars nowadays turn to popular culture when they want to understand perspectives of our contemporary world. This is true for scholars of religion and theology as well. As many studies have shown, popular culture is rich with religious possibilities. In them we can find mythic motives,1 reflections of a modern spirituality2 and themes that inspire theological thought.3 The purpose of this article is to build on an area of research in the field of religion and film that has already produced some interesting studies. This is the field of sex, religion and film. The specific focus of this study is on how sexuality and religious themes are related to each other in the works of one film and TV series maker, Joss Whedon. Special focus will be on the many saviors in Whedon’s works, but also on other religious themes and their connection to sexuality. The goal of this study is to show 1 J.C. LYDON, Film as Religion: Myths, Morals, and Rituals, New York 2003. 2 A. POSSAMAI, Religion and Popular Culture: A Hyper-Real Testament, Bruxelles 2005. 3 C. DEACY, Faith in Film, Aldershot 2005. 178 Sofia Sjö how the works of Whedon both promote and challenge traditional ideas about religion and sexuality, but also how the material can be seen to represent a complex contemporary attitude that can be a dialogue partner in the construction of a modern theological view on sexuality. There are several reasons why the works of Joss Whedon, the so called Whedonverse, have been chosen as material here: first, Whedon’s works, especially Buffy the Vampire Slayer, have been shown to be very successful at plugging into modern ideas and values.4 Secondly, Whedon’s works have also been shown to be interesting when one looks at religion5 and sexuality6 and therefore can be suspected to be so when the two are combined as well. Thirdly, though the works are not strictly Christian, sev- eral of them, e.g. Buffy the Vampire Slayer, are clearly culturally Christian7 and are therefore also of interest from a Christian theological perspective. This is true both when they challenge the tradition and when they support some of its ideals. However, what exactly is the Whedonverse? 2. The Whedonverse The material chosen for this study has, as mentioned, one thing in common. In the process of production, the American film and TV series maker Joss Whedon has been involved, in various roles as writer, director or producer. Despite this focus on Whedon’s works, it should be made clear that this study is not about Joss Whedon himself or his religious beliefs. Though this might be an interesting topic in itself, it is the works of Whedon on which I focus here. A short article like this one, unfortu- nately, does not offer room to consider every work in which a productive person like Whedon has collaborated. The works chosen for analysis are therefore ones that clearly relate to the topic of the study: Alien Resur- rection, Buffy the Vampire Slayer and Serenity and to some degree Angel and Firefly. In the analysis below we will only focus on certain scenes or structures that are clearly of interest. To make it easier for those who are not acquainted with the Whedonverse to follow the discussions, a short introduction of the material is provided below. Alien Resurrection (1997), for which Whedon wrote the screenplay, is the fourth installment in the Alien film series. To give a short recap, the first film,Alien (1979), tells the story of how Ripley and her crew- 4 S. ROSS, «Tough Enough»: Female Friendship and Heroism in Xena and Buffy, in S.A. INNESS (ed), Action Chicks: New Image of Tough Women in Popular Culture, New York 2004, pp. 231-256. 5 Z.-J. PLAYDON, What You Are, What’s to Come: Feminism, Citizenship and the Divine in Buffy, in R. KAVENEY (ed), Reading the Vampire Slayer, New York 2004, pp. 156-194. 6 J. LARBALESTIER, The Only Thing Better than Killing a Slayer: Heterosexuality and Sex in Buffy the Vampire Slayer, in R. KAVENEY (ed) Reading the Vampire Slayer, New York 2004, pp. 195- 219. 7 S. CRAIGO-SNELL, What Would Buffy Do? Feminist Ethics and Epistemic Violence, in «Jump Cut», 48 (2006). Queering Messiahs 179 mates land on a desolate planet. There, one of the crew is attacked by a creature and after a while a monster erupts from his chest. The monster kills most of the crew until it is killed by Ripley. In Aliens (1986), Ripley returns to the planet to fight off even more monsters. In the third film, Alien3 (1992), Ripley crashes on a prison planet and together with the inmates fight the monster she has brought with her. In the end she com- mits suicide, thereby killing the queen monster that is growing inside of her. Finally, in Alien Resurrection, Ripley is cloned so that the queen can be removed from her and used by the military to produce more monsters. The monsters escape and Ripley, together with a small group of people, stop the beasts and saves Earth. The science fiction theme in Whedon’s work continues with the TV series Firefly (2002) and the film Serenity (2005). Firefly takes place in a future world where humans have spread all over the galaxy. The lead characters are a former soldier, now captain of his own cargo ship, Malcolm Reynolds and his crew and the series follows their adventures and fight against The Alliance. In the filmSerenity , The Alliance tries to capture the young girl River Tam, who together with her brother, had become a part of Mal’s crew. River is a psychic who carries a secret memory that can seriously injure the alliance. When Mal and his crew find out about this secret, they do what they can to bring it to the world. Buffy the Vampire Slayer (1997-2003) tells the story of Buffy and her friends and their fight against evil in the little town of Sunnydale. As it says in the title of the series, Buffy is a vampire slayer, the one who has been chosen to fight against the demons, the vampires and the forces of evil. In each of the seven seasons of the series, Buffy and her friends fight different evil forces and stop the world from ending. However, the fighting and slaying is not the only theme in the series: it is also a coming-of- age story about a group of young people finding their way in the world. Finally, Angel (2000-2004), a spin-off of Buffy the Vampire Slayer, tells the story of the good vampire Angel and his fight against evil in Los Angeles, where he had gone after realizing that he cannot stay in Sunnydale with Buffy, the love of his life. 3. A Christian subtext As many studies of religion and popular culture have shown, popular culture reflects and connects to modern trends related to religion.8 As a consequence religion in film must be understood and analyzed with a knowledge of what constitutes contemporary religion or spirituality. When looking at films very often attention to the different religious traditions involved is therefore in order. This is true for the material of this study as 8 A. POSSAMAI, Religion and Popular Culture. 180 Sofia Sjö well. However, in the following the focus will first of all be a Christian one. This is not because this tradition is the only one through which one can read the material. However, as Clive Marsh has pointed out, some films do in a more direct manner than others inspire a reading from the perspective of a certain tradition. A film such asThe Shawshank Redemp- tion, with its reference to the Christian concept of ‘redemption’ in the title, quite naturally invites a Christian reading.9 In a similar manner, so does Alien Resurrection. As already mentioned, Buffy the Vampire Slayer can be seen as culturally Christian; «it is steeped in the stories, symbols, language, and professed values of Christianity»10. The series, among other things, introduces several monks and priests and some storylines borrowed from the Christian tradition. To a large degree this observation is valid for the rest of the material as well. What makes the choice of looking at the material from a Christian perspective fairly natural in this case is the focus of the study: sex and saviors.
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