September 25th, 2009
“I am all of them, but none of them is me.”
I never thought I’d be writing this post.
No one gave Dollhouse a chance of succeeding when its first season debuted to pretty abysmal numbers at midseason, and when it showed little signs of life on the ratings board when it concluded. It was a show that never found an audience, on a network that had done Joss Whedon wrong before with Firefly, setting everyone up for the inevitable letter writing campaigns when the show was canceled. Not only that, but to some degree people weren’t convinced the show deserved a second chance: it only late in the season discovered anything close to an identity, and even then some believed the show would be let down by some miscasting or the battle between procedural and serial proving too much for the show to handle.
So when the show got a second season against every oddsmaker, it was kind of surreal. On the one hand, as someone who liked what the show did at the end of the season, I was excited to see that Joss Whedon and Co. would have an entire summer to figure things out and put themselves in a position to really deliver some great television. However, on the other hand, I wondered if the end of the season was just a fluke, and that its premise and its star were just never meant to carry this show forward.
And then I saw “Epitaph One.” And then, in that moment, I realized that the premise was not going to be the problem, and that the show’s real challenge was how it will get from Point A (its rather auspicious start) to Point B (a science fiction thematic goldmine). “Vows,” of course, doesn’t entirely answer that question, but what it does indicate is that the ramifications from the end of last season haven’t ended, and that this is still a show capable of delivering an hour of television which treats this subject matter with the right balance of philosophical investigation and narrative procession. It is not a perfect premiere, by any means, but it confirms what I think we were all hoping when we heard the show got a second season: the growing pains are over, and a new life has truly begun for Dollhouse.
May 8th, 2009
If there is a single common trait amongst Joss Whedon’s best work, it’s passion. There is this impression that Whedon is pouring his heart into every little scene, and it’s almost always clear when Whedon himself is scripting an episode because it feels particularly purposeful and engaging. And, as a result of this, his passionate legion of fans respond in kind, and a fan favourite series is born. Unfortunately, the same series is probably also doomed to criminally low ratings, so to an extent Whedon has been painted with the brush of “Critical Darling, Ratings Failure.”
But to be honest, halfway through Dollhouse’s inaugural season, I didn’t feel Joss Whedon’s passion for this series: the premise wasn’t being used to its potential, the actors weren’t being allowed to dig into their characters, and in a television arena where patience is not a dependable virtue amongst a mainstream audience Whedon waited six episodes before finally delivering something with a pulse. But out of loyalty to a man whose work I admire and who even admitted last month at PaleyFest that he was going through a creative struggle on his end more than network intereference, myself and the legions of Whedonverse fans patiently waited for the show to break free.
And break free it has: starting with “Man on the Street” and extending into “Spy in the House of Love” and last week’s fantastic “Briar Rose,” the series has not so much reinvited itself as it has discovered the proper perspective on its themes and ideas. Even the episodes not quite as effective have helped to introduce key elements in a way that, rather than seeming like a random “This could be cool, I guess” sort of storyline, feel organic in the season’s momentum. Key mysteries were squared away faster than expected, one key reveal was played so well that being spoiled didn’t even matter, and heading into “Omega” there have been a number of critics who have noted that Dollhouse has quite stealthily become the show they most want saved during this year’s upfronts.
What impresses me about “Omega” is that it doesn’t present a cliffhanger, nor does it fundamentally change our knowledge of the Dollhouse universe (although I thought we should have seen it change on its own a bit more); while it confirms just what happened with Alpha, and makes good on a subtle line from Dominic last week that many astute fans picked up on, the episode is more about paying off some of the ethical questions and dilemmas posed over the last season in such a way as to less justify than explain them. While not perfect, slowing a bit in its conclusion and struggling in sections that required comic timing from Eliza Dushku, it was a finale that nicely summed up why this show is most certainly worth saving, while leaving more than enough questions to lay the groundwork for a second season.