At the start of the scene, the shot focuses on Mal and the Serenity crew as they enter Badger’s den. Here the camera uses a tracking shot that focuses on the movements with the crew but it also focuses on the lighting. Lighting techniques shift between extreme high-key lighting and low-key lighting as Mal, Zoe, and Jayne walk through the beams of light shining through the cracks between the crates. When they first enter the lair, they are walking through perpendicular caverns of cargo containers, where nobody knows what the next turn of the corner beholds. The tension continues to build with the non-diegetic sound that is intense and gives off a vibe that something is in the horizon.
From a lighting standpoint, the constant tradeoff between natural light and shadow continues to create ambiguity, as the audience doesn’t know what the Serenity crew is going into. The lighting along with the tracking shot and music create a mysterious atmosphere, which sets up the tension that continues throughout the scene.
At 19:05, Mal finally reaches the end of the tunnels and gets greeted with an armed guard denying his entrance. This instantly creates a hostile environment, which is immediately followed by Badger examining a female and declares a quick “yes” as she gets taken away from the scene. Based off these two simple, yet discrete actions, the audience has already received a “bad” or “illegal” vibe from the setting. These vibes are further reinforced once Badger is introduced. A close-up shot is used to show Badger, wearing a grimy-looking suit, with obvious five o’clock shadow; he is illustrated as a shady figure operating out of shipping crates, surrounded by armed guards.
As Mal and Badger initiate conversation, slightly low angle shots are used when the camera is focused on Mal, while slightly high angle shots are used when the camera is focused on Badger; this gives the impression that Mal is, in some form, above Badger. At the beginning of the conversation, a fast pan is used to move from a medium shot of Mal to a medium close-up of Badger. This conversation includes plenty of contradictions, which spur the confusion as to who is the “good guy” and who is the “bad guy.” First, Badger shows Mal the bulletin that indicates a firefly ship with stolen goods, although Badger’s decision to not purchase stolen goods can be attributed to good morals, based off of previous schema, it is more likely that he is protecting his operations by not risking getting caught purchasing these goods. As Badger tells Mal how he does not want to work with him, a close-up shot of Mal is shown.
After receiving the news that they won’t get paid, the Serenity crew expresses their frustrating beginning with Zoe, stating that it was unfair. Badger responds with, “Crime and politics little girl, situation is always a fluid.” This statement then transitions into Jayne’s outlandish comment “What I see here is a puddle of piss that is refusing to pay us our wage.” When Jayne says this, a close-up shot is used, coupled with lighting that changes to an overhead source. After Jayne’s vulgar comment, all the men in Badger’s company draw firearms. A series of short straight cuts is used; the camera quickly snaps between each man pulling out a gun. The camera also quickly pans from one man pulling out a gun to the man on the typewriter brandishing a revolver. In response to all the guns, Jayne attempts to retrieve his own pistol from his holster. The camera pans quickly from a medium close-up shot of Jayne to a close-up shot of Mal, then back to Jayne. As Jayne puts his pistol back, the camera tilts from a medium close-up down to his pistol at his waist.
As Badger begins to talk at Mal, telling him how he’s “above him,” shot-reverse shot transitions are used in order to show Mal and Badger facing one another. Badger is set in shadow, while Mal is set in overhead lighting.
At the end of the scene, the camera tracks Mal on the way out in the same manner as when he entered, making the scene come full circle. Mal walks back out into the shadowed low-key lighting of the tunnel.
This scene is crucial because it is essentially the first time the audience is shown Mal in conversation with not just another character, but another criminal. This contrast between criminals helps establish a spectrum among criminals—in short, some criminals are “worse” than others. Through use of high angle shots, it is shown that Badger is insecure around Mal. Despite having more guns and manpower than Mal, Badger feels threatened by Mal, and even goes on to say, “I don’t like the way you look down on me. I’m above you—better than.” As Badger lectures Mal, Badger’s face is left in shadow, while Mal’s is illuminated by light from above. Light from above often signifies recognition from God or Heaven above. This reinforces the idea that, despite the fact that both Mal and Badger are criminals, Mal is more just or even “holy.” Early on in the very first episode, this short scene helps establish for the viewer that criminals are not simply evil, but complex and multidimensional; some criminals like Mal adhere to a moral code, while others like Badger only act in the interest of profit and saving one’s own skin.
From a lighting standpoint, the constant tradeoff between natural light and shadow continues to create ambiguity, as the audience doesn’t know what the Serenity crew is going into. The lighting along with the tracking shot and music create a mysterious atmosphere, which sets up the tension that continues throughout the scene.
At 19:05, Mal finally reaches the end of the tunnels and gets greeted with an armed guard denying his entrance. This instantly creates a hostile environment, which is immediately followed by Badger examining a female and declares a quick “yes” as she gets taken away from the scene. Based off these two simple, yet discrete actions, the audience has already received a “bad” or “illegal” vibe from the setting. These vibes are further reinforced once Badger is introduced. A close-up shot is used to show Badger, wearing a grimy-looking suit, with obvious five o’clock shadow; he is illustrated as a shady figure operating out of shipping crates, surrounded by armed guards.
As Mal and Badger initiate conversation, slightly low angle shots are used when the camera is focused on Mal, while slightly high angle shots are used when the camera is focused on Badger; this gives the impression that Mal is, in some form, above Badger. At the beginning of the conversation, a fast pan is used to move from a medium shot of Mal to a medium close-up of Badger. This conversation includes plenty of contradictions, which spur the confusion as to who is the “good guy” and who is the “bad guy.” First, Badger shows Mal the bulletin that indicates a firefly ship with stolen goods, although Badger’s decision to not purchase stolen goods can be attributed to good morals, based off of previous schema, it is more likely that he is protecting his operations by not risking getting caught purchasing these goods. As Badger tells Mal how he does not want to work with him, a close-up shot of Mal is shown.
After receiving the news that they won’t get paid, the Serenity crew expresses their frustrating beginning with Zoe, stating that it was unfair. Badger responds with, “Crime and politics little girl, situation is always a fluid.” This statement then transitions into Jayne’s outlandish comment “What I see here is a puddle of piss that is refusing to pay us our wage.” When Jayne says this, a close-up shot is used, coupled with lighting that changes to an overhead source. After Jayne’s vulgar comment, all the men in Badger’s company draw firearms. A series of short straight cuts is used; the camera quickly snaps between each man pulling out a gun. The camera also quickly pans from one man pulling out a gun to the man on the typewriter brandishing a revolver. In response to all the guns, Jayne attempts to retrieve his own pistol from his holster. The camera pans quickly from a medium close-up shot of Jayne to a close-up shot of Mal, then back to Jayne. As Jayne puts his pistol back, the camera tilts from a medium close-up down to his pistol at his waist.
As Badger begins to talk at Mal, telling him how he’s “above him,” shot-reverse shot transitions are used in order to show Mal and Badger facing one another. Badger is set in shadow, while Mal is set in overhead lighting.
At the end of the scene, the camera tracks Mal on the way out in the same manner as when he entered, making the scene come full circle. Mal walks back out into the shadowed low-key lighting of the tunnel.
This scene is crucial because it is essentially the first time the audience is shown Mal in conversation with not just another character, but another criminal. This contrast between criminals helps establish a spectrum among criminals—in short, some criminals are “worse” than others. Through use of high angle shots, it is shown that Badger is insecure around Mal. Despite having more guns and manpower than Mal, Badger feels threatened by Mal, and even goes on to say, “I don’t like the way you look down on me. I’m above you—better than.” As Badger lectures Mal, Badger’s face is left in shadow, while Mal’s is illuminated by light from above. Light from above often signifies recognition from God or Heaven above. This reinforces the idea that, despite the fact that both Mal and Badger are criminals, Mal is more just or even “holy.” Early on in the very first episode, this short scene helps establish for the viewer that criminals are not simply evil, but complex and multidimensional; some criminals like Mal adhere to a moral code, while others like Badger only act in the interest of profit and saving one’s own skin.