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The Dollhouse is a very secret, and very illegal, place where wishes come true. Clients with the right connections and enough money can hire “Actives”, people who have been programmed to perfectly fulfill the needs, and desires of their clients. The Actives are people who have chosen, for their own reasons, to surrender their bodies and minds for a five-year stay in the Dollhouse. Now they can be imprinted with any personality, skill, or even muscle memory. They can be the perfect companion, lover, spy, assassin; and when the job is done they forget everything.
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The one thing I’m certain most Dollhouse fans were thinking after the series came to a close last Friday: it’s a shame it couldn’t have gone longer.
The first season of Dollhouse took so long to establish itself, perhaps too long for people to stick with it. From the DVD-exclusive episode “Epitaph One” and then continuing into the second season, the series picked up speed considerably. Its slow-moving season one was composed mostly of stand-alone episodes which raised big questions about the dangers of the Dollhouse, but rarely answered them. Season two raised the stakes, presenting the possibilities of the technology–all the bad, and sometimes the good, things that can happen with the ability to put different personalities in a person’s head–and showing its apocalyptic effects (on the world, and on the brain).
And then it was over.
Despite their sudden (though, sadly, expected) cancellation, the Dollhouse writers were given time to wrap up all loose ends and give us a satisfying ending to their grand enterprise. There wasn’t much time, but they made the most out of it, and for the last few weeks of the show we were treated to mind-bending questions and powerful performances.
But as a viewer, I was also frustrated. Why did they hold back the intensity in the first season? All these questions about the morality of wiping the dolls, as opposed to the engagements themselves, only came up in the second season. Only then did the writers really explore the larger possibilities and problems of creating and maintaining dolls, and the larger, more odious goals such a project could entail. I still think the show would be better if those little questions were dropped early on, setting everything up for one climax after another.
The show’s accomplishments in its second and final season are even more impressive given that Dollhouse labored under a unique predicament before it even premiered. The original pilot was scrapped after several remake attempts. The first five episodes had personality-of-the-week storylines, making it hard for viewers to connect to the overarching story and its implications when it mattered the most. Of course, it didn’t help that FOX put the show in the Friday night death slot, attempting a sci-fi theme alongside with Terminator: The Sarah Connor Chronicles. All those factors have been discussed and debated everywhere else, so I’ll just ask a different question: even with all that, could Dollhouse have been saved?
Dollhouse’s biggest problem was a lack of confidence in the premise and the material. The network found the show too risky from the start, but it was only once the writers began to take huge risks that the series reached its potential. The first season’s biggest reveals were probably Lubov, Mellie and Dr. Saunders being actives, as well as Alpha’s composite event–a stark difference from the second season’s exploration of Sierra’s pre-Active past, or Paul and Echo’s relationship, or Topher’s development of the technology that would soon cause the apocalypse.
The potential to take Dollhouse onto the grand scale was there all along, though it never really occurred to me until I saw “Epitaph One,” and the stakes were legitimately upped. Like one of the show’s own “sleeper” agents, the episode came out of nowhere (literally, since Fox didn’t even air it) and revitalized the show with its message, leading to philosophical debates about morality and free will, about doing bad things for the evil good. If those questions had come in earlier, things could’ve been much different, and perhaps right now I’d be wondering what new horizons lay ahead for Dollhouse season three.
Nonetheless, I’m glad Dollhouse ended every relevant storyline cleanly and clearly, despite the apparent pacing issues (what about the events between 2010 and 2020?) and all the questions they could’ve explored, if given more time. I know I can’t get everything I hoped for in the series since it began last year, but it was still one hell of an entertaining ride, ending on an optimistic yet somber note. And for that, I thank everyone involved.
Watch promotional photos of Dollhouse Season 2 Episode 13 Epitaph Two: The Return
What words can be used to describe Joss Whedon’s latest complete series on television? “Weird” is one. “Rushed” is another.
Granted, the show only had slightly more than a full season’s worth of episodes to establish itself (26 in all), but Dollhouse never really felt like something Joss really cogitated on and imagined from the bottom of his soul and thought through every detail. The series felt more like a favor he was doing for Eliza Dushku to prevent her from being typecast as a tough chick, with some clever bits thrown in.
Overall, the series wasn’t as good as his previous attempts, but still much better than 99% of the other crap on television. Major spoilers follow after the jump.
Had the series continued, would there have been an Epitaph Three, Four and Five? It was the most clever piece of the series. It’s hard to believe that the concept only came from a need to film an emergency 13th episode on the cheap.
The big shock of the episode was Paul’s death. He lasted so long just to be wiped out from a lucky bullet? Joss and company are good at tricks like that, and it did drive home the theme that nobody is dead so long as they are remembered (plus a little piece of Paul will live forever in Echo’s mind).
The lack of opening and closing credits was very cool and I wish more shows would adopt such a habit. Was the same thing done with Epitaph One? I don’t recall.
What happened to Whiskey from Epitaph One? Perhaps Alpha did. We’ll never know. Obviously Alpha became a good guy within 10 years. It beats being the Joker knock-off that he was. When I saw that the deceased Summer Glau (by that I mean her character, not the actress) was a guest-star, I was hoping for a Firefly mini-reunion. Oh well.
The “future slang” was kind of funny, with terms like “butchers” and “dumb shows”. Also technology related terms like “power down a sec” and “log off”. Alpha had the best line in the episode: “It spoke to the schizophrenic in me. Both of them.”
Anthony/Victor’s role in the show ended up being a tribute to Mad Max. How on Earth was Priya able to raise a kid in that environment? Still, it was probably better than raising him in (insert really bad city here).
The biggest problem of the ending was that apparently Topher suddenly had the capability of curing everyone (along with acting like a sacrificial savior). That conflicts with what we’re told before about imprinting. The original personality of anybody that is wiped, unless it’s copied to a hard drive (or flash drive in the case of ten years later. It’s surprising they didn’t use solid-state drives in the first place), is gone. It seemed like a rushed Hollywood ending and was awkward in conjunction with the apocalyptic tone of the series.
Sorry Joss. There was some really good stuff there towards the end but this one wasn’t a winner. That being said, I’m still looking forward to the next one.
Watch Epitaph Two (series finale) Episode here
[source]
Watch Photos of Dollhouse Season 2 Episode 12 ‘The Hollow Men‘
Friendship with Joss Whedon has its privileges. Just ask actress Amy Acker who is as surprised as anyone to have played such an integral role in what’s shaping up to be a pretty epic final season of DOLLHOUSE.
“The day before they started shooting the pilot, Joss [Whedon] called me up and said ‘We’ve got this part, she was supposed to be this 55 year old woman, but I’m thinking that you should do it’,” revealed Acker at yesterday’s Television Critics Associaiton Press Tour in Pasadena while promoting her upcoming ABC small town thriller HAPPY TOWN. “I didn’t know if I was just going to be in the pilot and of course I had no idea I would end up as a Doll and all this stuff would unfold.”
By ‘all this stuff,’ Acker is of course referring to the jaw-droppoing turn of events that took place during last Friday’s episode that saw Dr. Saunders/Whiskey unapologetically put a bullet through Bennett’s head.
“I think people think I look innocent so they like to have me ending up being a killer,” joked the actress. “You get to do so much more with these types of supernatural or mysterious characters. Like on ANGEL, getting to play a girl in a cave and coming out playing this Blue Demon Goddess, you don’t really get to do that on a CSI or something. With these guys [HAPPY TOWN creators Josh Appelbaum, André Nemec and Scott Rosenberg] and Joss, you get to experience a whole range of emotions, where it feels like you’re doing twenty-five different shows. Funny episodes… scary episodes… you’re not trapped [as an actress]. Like the episode of ANGEL where he was a puppet, that could have been on a sitcom.”
Unfortunately, there is nothing funny about FOX’s cancellation of the struggling sophomore series, which has a mere two episoes remaining after quietly morphing itself into one of television’s most daring and thought-provoking shows.
“I have one more episode, but it’s a very different [episode] than that one [on Friday].” teased Acker who was playing coy when asked about the possibility of a Boyd/Claire connection “There will be a connection, but it’s not Claire. I definitely have something to do with Rossum in the next episode… does that make sense?
With two episodes left, “Dollhouse” will deliver the answers that fans of the show have been waiting for on January 15. In “The Hollow Men“, sacrifices are made when Echo leads her crew to Arizona to dismantle the Rossum Corporation’s mainframe.
Among the highlights in the preview are a one-on-one confrontation between Echo and Dr. Claire Sanders, Topher being ‘chosen’ by Boyd, and Paul telling Echo that he is glad they are together. Above all of that, explosions occur in the lab and Boyd tells Echo that she is the ‘key’.
“Dollhouse”, surviving only two seasons, will wrap it all up in the 13th episode called “Epitaph Two: Return”. Picking up from the events depicted in “Epitaph 1,” the “lost” episode is set in the year 2020. Echo and her surviving Dollhouse crew attempt to restore order to a devastating future world before mankind is eliminated.
Watch promo of Dollhouse Season 2 Episode 12 Hollow Men
Also catch up with every Dollhouse episode by clicking here.
Watch promotional photos of Dollhouse Season 2 Episode 13 Epitath 2: The Return
Watch Dollhouse: The Complete First Season
and watch it all over again.
