A friend just told me "It's weird when fans name themselves."

"Uh, D, I'm a Buffista."

"I know!" she said. "But that's different somehow!"

"Because we don't have a dress code?"

"That could be it."

Why do I hear NF as ita and GT as the friend?

I don't know. Clearly you're delusional. The part of ita is always played by GT.

Cindy is right. I just read it again swapping the roles and replacing 'D' with 'Sir', works much better that way.

Orson Scott Card calls Serenity the best science fiction movie ever. [link] (The link might be Slashdotted).

This is an interesting aspect of Joss' writing which has been on my mind:

Well, not only is Serenity about something, it's also extremely well written. Joss Whedon has invented a kind of weird future slang that is still perfectly intelligible but is different, with snatches of foreign languages and obsolete English words that make it clear that it's not ordinary English they're speaking.

The effect of this -- at least in Whedon's deft hands -- is to allow himself something of the kind of heroic language that was possible for Shakespeare -- and for Tolkien. It allows him to be eloquent.

And then he turns around and deliberately clanks with some humorously abrupt language that makes us laugh for the sheer startlement of it. Just as Shakespeare did, when he'd drop from blank verse to the funny coarseness of comic prose.

This is one reason why Joss' writing appeals so much to me. He's very sensitive and attentive to language in a way that few TV or Film writers are (maybe Sorkin and Palladino). He's very conscious about creating a particularly rich metaphoric bed for his work, whether it's based in an entirely made up SoCal teenspeak, or a far future amalgam of 19th century tropes / tech speak /Chinese.

It's a taste thing, though. My sister likes Buffy well enough, but can't watch it because of the way they speak. I can't see her ever getting to like Firefly, since it's much more alien.

He's very sensitive and attentive to language in a way that few TV or Film writers are (maybe Sorkin and Palladino).

David Milch (and the other Deadwood writers) has this going on in spades. As do most of the Wire writers. And that's why I can't bring myself to budget out the HBO.

Speaking of Deadwood on-topically--the scientist woman in the signal video thingy was the evil tutor on last season's Deadwood. Creepy!

And then I realize that to society, I am always going to look bad, or at best weird, and if they weren't mocking me because of my Jossness, they'd be mocking my terrible taste in shoes.

Yes. This. So very, very true.

David Milch (and the other Deadwood writers) has this going on in spades.

Is he also responsible for the early NYPD Blue? That had a pretty distinctive speech pattern, too -- it feels Shakespearean to me sometimes.

It's a taste thing, though. My sister likes Buffy well enough, but can't watch it because of the way they speak. I can't see her ever getting to like Firefly, since it's much more alien.

I know it can be a barrier to entry, but my experience with literary canon suggests that works which are linguistically distinct -consciously/artfully so - are more likely to endure. The reason being (generally) that works which only paddle along in the given language of their time get swept away when that time has passed. They owe too much to the cultural biases of that time. Whereas works which have a hard core of non-derivative language endure the erosion of the commonplaces of an era.