Dollhouse: Episode 13, Season 2 – Epitaph Two: Return (2010) – Review

Epitaph Two: Return is a good ending to the Dollhouse series, as it provides a resolution the major thematic elements of the show and the characters. Season two felt rushed at times as the writing team needed to resolve the show and get to the events of Epitaph One within the thirteen episode limit, as the show was not renewed by Fox. Given that, the show was incredibly well done at times, and the same is true for the finale – in that it suffers from there just not being enough time to do everything to finish every story, but the story it does tell is a great ending. The episode takes place ten years plus since The Hollow Men and thus a lot has changed. Victor has become a Mad Max-type, Sierra is a mother and Echo has still not let Paul Ballard in (admitted her love for him). The episode focuses on Echo and Paul rescuing Topher (inadvertently) and discovering that he has figured out a way to reverse the imprints and put everyone back to the way they were before. However, do to this, they must return to the Dollhouse. But it brings up the question that the show has dealt with all season long, what makes up a person, or their soul, basically what makes them themselves. Echo, Sierra and Victor have transcended their old selves and do not want to give up who they are now. And later, other imprinted persons do not want to give up their abilities either. The conclusion seems to suggest that while experiences make us who we are, there are also deeper characteristics that also influence our decisions (like Victor and Sierra’s love) – thus the soul is a combination of what we are and what we experience. The episode (and series to some degree) also is about love – its forms and how it must be seized and fought for. Technically the episode was well done (especially as it was made on the cheap). Director David Solomon has contributed a lot good work to the series. The same goes for the Dr. Horrible’s Sing-Along Blog writing team of Maurissa Tancharoen and Jed Whedon who co-wrote this episode with Andrew Chambliss as well as many of the series best. It was nice to see Alan Tudyk and Summer Glau show up in the episode, as well as Mag, Zone and Adair Tishler imprinted with Caroline (she is great in her two episodes). The stars that emerged from the series (and I look forward to their future work) are Dichen Lachman, Enver Gjokaj and Fran Kranz; veterans Olivia Williams and Harry Lennix were also very good throughout. Overall the second scene was rushed, yet very solid and the finale was sort of the same in that sense – I wish there was more, but I liked what there was (cannot wait to see Whedon’s next). 10/10

Check out episodes of Dollhouse on Fox.com and Amazon.com

Dollhouse: Season 2, Episode 12 – The Hollow Men (2010) – Review

The Hollow Men is an action-packed engaging episode, but not without a minor issue. The episode succeeds due to fine performances by the cast across the board. The episode features many personality changes throughout and the cast handles it well (Amy Acker plays a man for example). The main issue however is not so much with the episode itself rather with the end. The story jumps ten years in the future to catch up with Epitaph One, which is necessary as there is only one episode left and the narrative of Epitaph One needs to be resolved. But it does not feel like the story is finished in 2010 (as the future takes place in 2020), which is a function of both the show just running out of time and it needing to finish not being renewed. Epitaph Two: Return will hopefully be a great ending to a strong season, but there seems to be a lot of story left to tell (one can only hope it is a double episode, but I doubt it). Back to The Hollow Men, the episode had a few intense scenes making the viewer uneasy, yet fully committed to the events unfolding (some likely watching through their hands). The episode felt a bit like a season finale with the last shot being a cliffhanger for the next season (again seemingly burdening Epitaph Two: Return with too much story to tell). The Big Bad is dealt with (well played by Harry Lennix) in the episode, freeing up the last episode to go any direction. The motivation of the Big Bad was that of a mad scientist – Echo entered into the Dollhouse only to build up genetic antidote to the mind wiping process, something the Big Bad knew would happen all along. As if, once the technology was invented, even in its infancy, the Big Bad knew the future, knew that such an antidote would be necessary. And being a mad scientist, it makes sense that the Big Bad would form emotional (if not veiled) connections to those around him. He is nuts, but still craves connection.  It also works well in the narrative as it makes the Big Bad creepier and unstable. The ending of the episode (not including the epilogue) is quite good (the role reversal is perfectly executed). The Hollow Men is exciting, features great performances and character moments and continues the excitement for the season finale. 9/10

Dollhouse will air its last episode on Friday January 29^th on Fox, and can also be watched on Amazon.com

Dollhouse: Season 2, Episode 11 – Getting Closer (2010) – Review

Getting Closer is another great episode in a season that has been up to the normal Whedon level of quality week after week (unlike season one). The principal function of this episode is to tell more about the back-story of Caroline, thus revealing why bringing her personality back into Echo is so important. The work between Eliza Dushku and Summer Glau in the flashbacks does well to both show why Bennett would quickly follow Caroline and that Caroline may not be completely unlikable (as was the impression left on viewers from season one episodes, most notably Echoes). However, where the episode really succeeds is in the scenes between Bennett and Topher (the arch of their relationship is classic Whedon). Their mix of dorkiness and sincerity gives great comedy but is also sweet, perfectly setting up the first of two huge twists that elevate the story and the episode. Amy Acker also returns in this episode, and is great as usual. It is too bad that she made a commitment to Happy Town and could not be in more episodes this season. The final twist to end the episode is unexpected, but works well to set up the conflict for the final two shows. The writing staff has done a wonderful job this season working towards Epitaph One without much time and yet still making it both make sense and be quite compelling. Tim Minear, who has generally done good work, misfired with Omega, which was a rather weak episode from season one which needed to be strong, returned with Getting Closer and returned to writing and directing good TV. Over the course of the season, Dollhouse has transformed from a show about fantasies (in whatever form that took) with character relationships being thin to a show about relationships and it has benefited exponentially from this change. And that was the central theme of this episode. Story wise it was rather straight-forward, as it was more concerned with expressing the importance of our relationships and how they effect and conduct our behavior – and much of the meaning and impact of Getting Closer directly correlates to the strength of the relationships on the show and the viewers buy-in. 9/10

Dollhouse has two more episodes left, this and the following Friday on Fox, or can be seen on Amazon.com

Dollhouse: Season 2, Episode 10 – The Attic (2009)

The Attic is an episode about facing one’s fears, overcoming them and taking control. This is shown in a very literally manner, as Echo, Victor and Sierra are trapped in the Attic, which is described as being a recurring loop of each character’s worst nightmare. Echo and company must survive their nightmares and somehow escape, and in the process they discover the true nature of the Attic and a weakness of the Rossum Corp. Like Stop-Loss, the episode does a good job of bringing Echo, Victor and Sierra together and really establishing their bond, while solidifying the LA Dollhouse into a cohesive unit, much like what is shown in parts of Epitaph One. First time director John Cassaday (known for being a graphic novel artist, working with Joss Whedon on Astonishing X-Men) does a great job visualizing the dream world (I especially like the shot of the snow falling on the tree in the middle of the Dollhouse). It both feels real, but there is always a sense that something is off. The visual look of the Attic itself was interesting and creepy. The image of Echo being Saran-wrapped in and container filling with blue mush liquid and then prodded with probes in her head was almost too much (reminded me of the Earth outside the Matrix). Rossum just gets more and more evil with each episode. The purpose of the Attic was also quite interesting (if not Sarah Conner Chroniclesesk), using human minds working on overload fighting nightmares to process information and problem solve. The show throughout has had a theme involving identity and the notion of soul. Using humans merely as computers, and before with the group-think soldiers, Dollhouse continues to invite the argument that average humans are also dolls (if not willingly) possibly void of a soul, yet there is a soul lurking below, if only they were aware. The show would suggest that people take control of their own lives and not buy into the mundane elements of society that would dictate their lives. The Attic is stunning visually at times, which it should be given the director, and like the episodes before, it seems to set up the impending struggle between the LA Dollhouse (now bonded together to fight) and Rossum. 9/10

Dollhouse airs Fridays on Fox or can be seen on Amazon.com

Dollhouse: Season 2, Episode 9 – Stop-Loss (2009)

Stop-Loss has a lot going on in it. Primarily it is about love, a love so powerful that it is not fleeting, rather it is within the nature of Victor so much so that even with programming inputted dictating his personality there is still a sense of love for Sierra that is true to a higher degree than the programming can command. This is yet another interesting argument that Dolhouse makes about the existence of a soul, or what makes up the soul. Echo being aware and having a sense of self preservation makes the assertion that the soul is made up of experiences shaping a person. But with the love between Victor and Sierra (be it carnal), the soul seems to be also made up of a deep rooted nature within a person that is not effected by experience. Thus, maybe one’s soul is a combination of both? The episode also sees DeWitt’s dissention into the dregs, seemingly consumed by the moral conflict between her responsibility for the people that populate the dolls and the objectives of Rossum. Finally, we see through the resolution the formation of the true bonds between Echo, Victor and Sierra as a team – which sets up what is to come. Felix Enriquez Alcala directs the episode that feels like Victor is dealing with being on leave (much like the scenes in The Hurt Locker in which Jeremy Renner returns stateside and seemingly cannot wait to get back to the action, as if he no longer fits in to normal society). It makes sense that Victor would want to fall back in with military buddies and action as soon as possible. The idea of group-think is prevalent in business and military. Rossum looking for applicable applications for their tech, it makes sense that this group-think activity would manifest in their military research. The show has been politically liberal in the past, and the depiction of military group-think (and Rossum as an evil corporation almost in the Michael Moore sense) is just another nod in that direction.  The score was quite good in the episode as it has been throughout the show. Stop-Loss is the turning point in the show setting up the final chapter (which looks like it is going to be really good) bringing together Victor Sierra, allowing Echo to make her own mission and DeWitt to make the decision of what side she is on. 8/10

Dollhouse airs Fridays on Fox or can be seen on Amazon.com

Dollhouse: Season 2, Episode 8 – A Love Supreme (2009)

A Love Supreme is a fantastic episode. It has action (sort of a zombie 28 Days Later… feel to it), tension and great performances (Alan Tudyk is brilliant). From the title of the episode, the nature of love and its application to the Dollhouse is explored. On one side, there is a wealthy man that blew his fortune addicted to the Dollhouse (or Echo), and on the other there is Joel Myner that used to Dollhouse to deal with his grief, but has since moved on and found love in the real world. And, there is Alpha, completely obsessed with Echo (psychotically), unable to understand why she does not love him back. Even with his forty or so personalities, he is unable to determine how to control love – what makes someone in love with another. The story also examines the evolving relationship between Ballard and Echo. Is there really love there, or is it obsession as well? The show is looking at the clients as well as the characters within the Dollhouse this season, which poises questions about our own societal needs. Joss Whedon series seem to be able to inject comedy even into tension filled scenes and situations, and this episode is certainly nail-biting for the characters yet comedy still seeps in to ease the moments and make it more accessible for the viewers (great bits from Topher and 20s’ era Sierra). While love may be a dominant theme of the episode, A Love Supreme is one of the most visually violent of the series, and that means that the viewer literally sees the gore and destruction rather than it being discussed or inferred. It is a striking contrast that plays in the favor of the narrative as a whole. Acting wise, this episode is very strong and features maybe Eliza Dushku’s best performance of the series. Dichen Lachman and Enver Gjokaj continue to show their wonderful versatility (I hope they both are used in future Whedon projects, or find good roles on other series/films). And, as mentioned above, Alan Tudyk turns in a (almost Ledger-like Joker) brilliant performance (if only Omega could have played more like this episode). As Dollhouse comes closer to the end, A Love Supreme shows that it is a great show and continues to set up what should be a fantastic finish. 10/10

Dollhouse can be seen Fridays on Fox or on Amazon.com

Dollhouse: Season 2, Episode 7 – Meet Jane Doe (2009)

Meet Jane Doe is focuses on Echo’s growth – Echo now is her own entity, not a doll mindless and obedient. Nor is she preserving her body for Caroline. Rather, she has evolved, an amalgamation of all her imprints, much like Alpha, thus giving her a new persona. What is exciting and interesting about this is that Echo is Echo, not Caroline, nor does Echo wish to return to being Caroline, continuing on the question of what makes up the soul – be it genetics or the summation of experiences or whatever. The fact that Echo as Echo has a sense of mortality and of preservation seems to suggest that the soul is separate from the body and is based on experience and reason (of the individual, be it sound or not) rather than being of a visceral nature. The episode uses a time lapse (3 months) to show the aftermath of Echo’s disappearance after the Perrin incident in D.C. Here, we find the characters in a much different place. Echo, Ballard and Boyd are plotting something, DeWitt is making a power play to regain control (are her motives sound?) and the future looks murkier than ever. The episode is another step to Epitaph One and we continue to see the pieces come together and fall into place. The visualization of the tension between Echo and Ballard and Echo being able to now access her imprints allows this portion of the episode to succeed. The viewer can feel the emotions and see the changes, which works so much better than the past use of extensive exposition. Back in the Dollhouse, the scenes involving the evolution of DeWitt’s relationship with Topher are quite interesting. As before, she seemed a little like a mother figure to him, both in the past and in the future show in the season one finale. But here she crosses him, and it will be engaging to see the ramifications of her actions. Each piece of the puzzle is coming into focus. Season two as is just getting better and better, and Meet Jane Doe is another great story on the path to finishing the puzzle (Epitaph One) and seeing what happens once it is done (Epitaph Two: The Return). 9/10

Dollhouse can be seen Fridays on Fox or on Amazon.com

Dollhouse: Season 2, Episode 6 – The Left Hand (2009)

The Left Hand is a thrilling episode filled with good performances and more twists, paying off on the set up of The Public Eye. It is part espionage and part self discovery. The show is tackling a very interesting element, having the dolls being (or becoming) self-aware. Now awake, Echo is not sure if she even would want to go back to being the Caroline – it questions the notion of self and soul and what makes us ourselves. Is it the physical elements or the sum of our experiences, or both? Echo is both cognizant that she was Caroline and is now Echo, and that Caroline is her true self, and yet is still hesitant to go back. What does that say about human nature? Is self-preservation a higher order than the value of life? In terms of the episode’s structure, the action beats work well as well, making for a narrative that flows. Wendy Stanzler’s handheld camera also keeps the action and drama fresh. The Left Hand employs comedy too, supplanted into a mostly dramatic story, allowing for the viewer to fully enjoy the experience, both laughing and invested in the dramatic outcome. And in this, Tracy Bellomo wrote great dialog and a great script. Summer Glau is excellent in this episode; her scenes with Fran Kranz are played perfectly and are just plain fun to watch. The two have good chemistry and hopefully they will have more interaction in the future. Victor’s impersonation of Topher is also brilliant (watch out for Enver Gjokaj; he is good). Alexis Denisof turns in a good performance (at one point her plays an imprint as if he is auditioning for Terminator, minus the heavy breathing). Olivia Williams also has some fun showing her aptitude in her scenes with Ray Wise. The score for the episode was wonderful. It was playful in the Bennett-Topher scenes, and the little piece that closes the show (not the music over the credits, before that) worked really well to bring forth the wonder and emotion of Echo, fully aware and fresh to the world outside. The Left Hand is a great episode of television and together with The Public Eye shows that Dollhouse is one of the better shows on TV right now. It is too bad that this season will be its last. Come for the thrills, stay for the comedy and great characters and performances. 9/10

Dollhouse airs Friday nights on Fox or can also be seen on Amazon.com

Dollhouse: Seaons 2, Episode 5 – The Public Eye (2009)

The Public Eye is a fun, creepy at times, episode full of twists and turns. Thematically, the episode has pockets of identity crisis (which plays more in the next episode). Mainly though, the episode serves as more of a lead-in to the next more than a stand-alone piece, which hurts it a bit. The first act is bludgeoned with exposition, though unavoidable, it does slow down the storytelling, and drag. Director David Solomon does his best to liven it up though, employing an active camera. But ultimately, the first act does little more than inform. There is a rather good little scene between Olivia Williams and Keith Carradine squeezed in there though for good measure. In the second act, there is action, twists, suspense, emotion, and fun. However, much like almost all scenes involving Ballard doing dramatic work, the scene between November and Ballard at LAX is a bit flat, but there is a sense that it is suppose to be, in that he has failed utterly, and this is the lowest of the lows for him, the final failure that will lead to some sort of redemption (we shall see, this is Whedon after all, so Ballard probably will not get it). The theme of identity also harkens back to the future as seen in Epitaph One, which is a nice touch. With each step to help, the audience sees the step as just another leading to the fall. It is also interesting to see the steps that lead the LA Dollhouse to be sort of an epicenter of resistance, much like in Belonging, Dewitt again decides to try to take the moral high road, or so it seems. The third act plays the best, as the intrigue heightens (and the production design is such a contrast to the LA Dollhouse). Summer Glau is quirky and creepy and delightful to watch. Stacey Scowley also plays her role well, her character is just so off-putting, and it is supposed to be (I think). Alexis Denisof was good; he evokes the characteristics of his role well, but seems fake at times, as if he is too perfect (you’ll see). Elisha Dushku has one of her better episodes too, playing in her wheelhouse. Overall, the episode is fun. There is some drama, some action, some sexiness, some comedy. But most importantly, the episode (which really does feel like part one of a two-parter) sets up what is to come nicely. 8/10

Dollhouse can be seen Fridays on Fox or on Amazon.com

Dollhouse: Season 2, Episode 4 – Belonging (2009) – Review

Belonging engages, examines and enthralls – not only that, it also features artistic style and fine performances. At the heart of the episode is the nature of morals, and how they transcribe action within a person (or inaction); do morals only suit us when they are easy, can they be justified away just as easily – these  are among the tough questions that Dollhouse is constantly exploring, and what makes it a captivating series, despite its issues. Here, Topher and Adelle must question their own morals and motivations to why they work at the Dollhouse, questioning their justification and then determining their course of action in the face of what they must do. The episode is also alive with touching moments juxtaposed to violating, if not disturbing, moments – wrenching the viewer in, almost mandating attention – strengthening the viewer’s attachment to the characters. While this chapter does not push the story forward in buckets, Echo still remains on her awakening, it lets us get a chance to see the characters a little better, to know them (which the viewer needs to legitimately take a real interest), while setting up what is to come. Character development, especially that of the dolls, is an issue the writers have been working through, and getting to see the back-story of Sierra give a lot of insight into her and allows us to make more of a real connection. The writing team of Jed Whedon and Maurissa Tancharoen (co-writers of Dr. Horrible’s Sing-Along Blog) turned out a wonderful script and Jonathan Frakes (that’s right, Commander Riker!!) excels in the director’s chair. Often, on TV, directors coming into a show to direct an episode (aka they are not part of the regular crew or production staff) are limited in their creative options as the show has a set tone and style, and even worse a mandated broad appeal, which leads to episodes being done in a straight forward manner (not to say there is anything wrong with it, rather to say that artistic creativity is stifled a bit). With Dollhouse, though there certainly is distinctive tone and style to the show, the show has an abundance of freedom, which (oddly) comes from the show’s small budget and dedicated, if not small, fan base (as it is made cheap for a specific audience of fans with viewers outside this assumed base being a bonus), as well as Joss Whedon’s desire to push the boundaries a bit. Frakes does take advantage, as he shoots quite a beautiful episode despite the nature of the material. He succeeds skillfully at connecting the emotion on the screen with the view through his visuals (the shot of the silhouette against the painting is perfect). In the darker scenes, there is almost no color (minus the painting); gone is the gloss (righteousness) of season one, welcome to the next in the series of events that leads to the downfall of humanity (the world of Epitaph One). The performances continue to get better on the show; in Belonging, Harry Lennix, Olivia Williams, and especially Fran Kranz are terrific. Episode star, Dichen Lachman, is given more work and handles it admirably, furthermore Vincent Ventresca is strong in his guest appearance (he does scary well), as is Keith Carradine in his brief scenes (but what else would anyone expect having seen him in Deadwood or Dexter). The score of the show continues to be solid and there is a song (which sounds to be) composed by Jed Whedon for the episode that works well. Belonging is about choices, what motivates those choices, and relationships – and to this end, it is phenomenal in its execution. 10/10

Dollhouse can be seen Friday nights on Fox (starting December 4th); episodes are also available on amazon.com.