“The Hollow Men”
January 15th, 2010
“This world is for people who can evolve.”
We’re going to be waiting two weeks until Dollhouse concludes its troubled two-season run (although scheduled to finish next week, the cross-network Haiti Telethon is taking over primetime on the 22nd), and it’s going to be interesting to see the kind of anticipation that builds around the show’s series finale. “The Hollow Men” is an engaging hour of television that features a strong performance from Harry Lennix, but there is every sense that this is transition episode and little more: the scale of the “war” is at this point still so small that the episode feels more incidental than perhaps it should.
The show has spent much of its second season implying that events which seem small are going to eventually seem very large, aided by the presence of “Epitaph One” as an image of the world’s future dystopia, but the real trick is trying to actually make those small events seem large in the context of a single episode. The work done in “The Hollow Men” is not inelegant so much as it is hampered by the “rush” towards a conclusion, and at times the episode feels like a “greatest hits” collection of the show’s finest moments as opposed to a culmination of ongoing storylines. The episode spends a lot of time talking about characters as a family, which is a fine idea but which fails to capture the evolution these characters have gone through: while the show’s relatively short run precludes the kind of depth that the final episodes of Lost or Battlestar Galactica brought to the table, there is still a sense that the way Dollhouse made its way towards its finale kept it from having the dramatic impact it perhaps could have.
It does nothing to make me less intrigued about how the show wraps up its run next week, but I definitely am not connecting with the ending as perhaps some others might be.
March 27th, 2009
We make choices, and then we live with them. And then we die with them.
After undoubtedly its finest hour last week, “Echoes” has a lot to live up to, and for the part it succeeds – no, the episode doesn’t reach those heights precisely, but what it accomplishes is something different in a way. Whereas last week did a lot of strong work in regards to establishing Paul Ballard’s purpose and emphasizing the moral grey area for the Actives being used in various ways, this week returned to what last week’s episode really didn’t delve into, the wonderful irony in Echo’s name in particular.
We saw in the season’s second episode that Echo is experiencing her former life, or something aspects of her past identity, in a way that the other actives are not, but in this episode a mysterious toxin created by a mysterious corporation with mysterious ties to Echo’s past life as Caroline emerges which creates this effect in every other active. The episode has some balance challenges, as the humans who receive the drug replace traumatic visions with hilarious lack of inhibition and dominate parts of the episode, but for the most part there’s a good combination of light-hearted fun and a more serious tone.
Still, the above quote captures the very idea of how people are recruited into the Dollhouse: they are given a chance to live for five years without consequences for their choices, that part of their life wiped away for the police or the courts, and then a promise that they won’t even have to live with their choices once they finish their five-year term. It’s a complicated process that I don’t feel we’re supposed to trust, and even if the episode didn’t make me care about Caroline, it at least made me really interested about what she represents in this story.
And that’s still a good bit of momentum, which keeps me engaged with a show that had lost me a few episodes in.