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| Introduction | |
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| 'Good Myth': Joss Whedon's Further Worlds | |
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| 'They Tried to Kill Us, and Here We Are': Episode and Film Guide | |
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| Language and Rhetoric | |
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| 'But She Was Naked! And All Articulate!': The Rhetoric of Seduction in Firefly | |
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| Representing the Future: Chinese and Codeswitching in Firefly | |
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| 'Much Madness is Divinest Sense': Firefly's 'Big Damn Heroes' and Little Witches | |
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| Gender | |
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| The Threat of the 'Good Wife': Feminism, Postfeminism, and Third-Wave Feminism in Firefly | |
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| The Companions and Socrates: Is Inara a Hetaera? | |
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| 'I Aim to Misbehave': Masculinities in the 'Verse | |
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| Genre | |
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| 'The Alliance Isn't Some Evil Empire': Dystopia in Joss Whedon's Firefly/Serenity | |
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| Back to the Future: Retrofuturism, Cyberpunk, and Humanity in Firefly and Serenity | |
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| Firefly's 'Out of Gas': Genre Echoes and the Hero's Journey | |
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| Social and Cultural Themes | |
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| Reavers and Redskins: Creating the Frontier Savage | |
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| A Geopolitical Interpretation of Serenity | |
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| Religion and Morality | |
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| 'I Do Not Hold to That': Joss Whedon and Original Sin | |
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| Humanity in a 'Place of Nothin": Morality, Religion, Atheism, and Possibility in Firefly | |
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| Music | |
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| Music, Race, and Paradoxes of Representation: Jubal Early's Musical Motif of Barbarism in 'Objects in Space' | |
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| Marching Out of Step: Music and Otherness in the Firefly/Serenity Saga | |
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| Visuals | |
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| Between Past and Future: Hybrid Design Style in Firefly and Serenity | |
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| Deathly Serious: Mortality, Morality, and the Miseen-Scene in Firefly and Serenity | |
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| Fans, Transition, and the World Outside | |
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| 'Can't Stop the Signal': The Resurrection/Regeneration of Serenity | |
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| The Browncoats Are Coming! Firefly, Serenity, and Fan Activism | |
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| Notes | |
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| Works Cited | |
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| Index | |