The Future of Identity Theft

Another Joss Whedon series wrapped up, another emptyish hole in my heart that only the Whedonverse can fill. As far as Whedon projects are concerned, Dollhouse was largely viewed as the redheaded step child of the bunch, but in spite of some logistical issues that plagued much of the series, I thoroughly enjoyed it pretty much since day one--well, more like from since episode two, but who's counting.

The series finale aired on Friday and I have to say, in spite of a rocky start to the second season, it ultimately turned into the kickass series I always knew it could be. My brother, who foolishly gave up on the show after just a couple of season two episodes, realized the error of his ways and had an unintentional marathon of the last ten episodes all in one night. I had promised him the show had gotten insanely awesome, but he didn't really believe me until 6 am rolled around and he realized he's just stayed up all night. That'll learn him to abandon Joss Whedon. If there's one thing I'm sure of, it's that Joss will always come through in the end. Even after Buffy flew off the rails in the last couple of seasons, it all ultimately came together in the end (even if I didn't totally love the "we're going to tap all the potential slayers" storyline, I have to admit he pulled it off). Sometimes he just needs time to fix things. Like with Angel. I broke up with Angel after Connor made his way onto the scene and that whole storyline with Zoe, er, Jasmine came into being. But, upon hearing that they were basically going to write a couple of entire seasons out of the show and that Spike was being added to the cast, I renewed my commitment. And thank god I did. The last season of Angel was far and away the best season of the show and was home to several of the best episodes of any Whedonverse production ever. "Smile Time" stands apart as probably the best thing to ever happen anywhere ever, but I think the series finale places pretty high on the list as well. After the heartbreak that was Fred, it was all the more satisfying to see Angel and company kick some serious ass. Incredibly well thought out, balanced, poignant, exciting, and meaningful, the series finale pulled together all the awesomeness into one episode. It was a fitting end that wasn't really an end at all. Which was really the best part. I loved that the show came to a close on the few remaining heroes charging into certain death. It just felt right for a show like Angel and I think that's what makes it my favorite Whedonverse finale (I don't really take Firefly into account, since it didn't really get a finale--except for Serenity, but that's a different story). Here's hoping he managed to slay that dragon.

**SPOILER ALERT**

Dollhouse's finale needed to be something different. Dollhouse had always had a more sobering tone and more authentic apocalyptic flavor (given that there were no vampires, demons, or other mythical creatures to deal with) and needed a more grounded, finite ending. The truly committed fans went through a whole hell of a lot for this series, and even though season two was a lot more Whedony in the traditional sense, it was still a heavy emotional road to tread.

I think the reason the show truly came together and became the awesomeness that it became after the first few season two episodes was that the writers knew it was ending. With that knowledge, they were able to throw out the stand-alone stories, largely axe the unnecessary A-plots, and put together one cohesive story which just so happened to be the story we all had wanted all along. My main quibble with the show had been A-plots that didn't really matter in the grander scheme of things, so when they eighty-sixed that quibble, the show got awesome. Add to that the fact that the principal dolls finally got their identities back and started remembering what happened last week and all the things that held the show back were finally lifted. Given the freedom to do basically whatever the hell they wanted to do, the show really came together for me and managed to assuage all previous concerns I had had with the base concept and logistical issues.

Indeed, they turned the basic conceit into a very cerebral experience for viewers who suddenly had to look at the implications Dollhouse technology in a whole new way. When you watch as much television as I do, it's not easy to find a dynamic that's unexpected, storylines that are unpredictable, and consequences that are unforeseen. Dollhouse delivered in spades. I don't want to belabor the specifics of everything or analyze the minutiae, because in all honesty, it feels like I, too, have survived the Thoughtpocalypse (or some sort of harrowing ordeal), but I would like to briefly address the show that was.

Topher and Adele: I'm going to show my hand here and conclude that their evolution and their interpersonal dynamic was the most fulfilling of the entire series. I have a feeling I'm in the minority in that opinion, but for me, there was none better. Watching them go from completely amoral and unfeeling to part of the emotional core of the show was extremely satisfying. More so than anyone else in the resistance, they hold the Thoughtpocalypse (or Brainpocalypse, if you prefer) squarely in their hands, and even with their skewed moral compasses, the gravity of it all was inescapable. I loved their portrayals in "Epitaph One" and "Epitaph Two" and thought their emotional progression (and borderline insanity) was beautifully constructed and the natural, logical path for them to take. In and of themselves, Topher and Adele were probably the loneliest characters on the show. Even though they both had love interests of sorts, I think the bond between them outweighs any of that. When faced with sharing such a burden and such culpability for the state of things, it only makes sense that they would band together as the only two who know what the other is going through. The obvious affection and protectiveness between them at the very end was one of the most powerful aspects of the show's culmination. As Topher's plan to send the pulse comes together and it becomes apparent that he'll be killed in the process, Adele lets him go not only because it's what has to be done, but because after all he's been through, it's finally a way out. Having caused the Thoughtpocalypse in the first place, he couldn't leave without fixing things, so the pulse is his chance to make things right and also end his pain. I loved that Adele offered to go with him--together in guilt, together in death--but that Topher acknowledges that in its own way, death is the easier way out. Adele has the tougher job ahead. Always the shepherd, she has to undo the social destruction once Tohper undoes the mental destruction. I always enjoyed these two characters more than most, so seeing such a fitting and devastating end for them really made the finale for me. At the end of the day, they're my favorites.

Sierra and Victor: While Topher and Adele were the real core of the show for me, it's hard to contend that the heart of the show belongs to anyone but Sierra and Victor, er, Priya and Tony. Throughout the course of the series, they proved much more of a draw than Echo or Paul ever were, but I have to admit, the finale left me a bit underwhelmed with this particular pair. To be fair, however, touching storylines involving characters having a child together pretty generally underwhelm me. It's just never really struck me as the means to a happy ending and the strain it put between the two of them seemed illogical and unwarranted. Priya's resentment that Tony went all Mad Max in the fight for humanity was off-putting at best. I suppose I can understand it and do believe it would be in character for her, but after all the carnage and bloodshed, I'm hesitant to agree that's how it would play out. I suppose Priya was trying to hang onto whatever miniscule piece of normalcy she could and his willingness to use the tech that made them dolls in the first place was decidedly contrary to that pursuit. It was nice to see them come together in the end, and they really did make for a pairing I reveled in, but again, the whole kid storyline just didn't really do it for me. In the back of my mind, I like to think that this is an extension of where Joss wanted to take Zoe and Wash in Firefly. It's a god awful miserable world that no child should be brought into, but what if one was? I'm never of the opinion that bringing a child onto a show is good move, but it's certainly something to think about, especially as the planet is melting and the whole world is going to hell. Zoe may want to meet that child, but I'm not sure the child would want to meet the world (even if the world includes Enver's kickass Topher Brink impression--amazing).

Echo and Ballard: I couldn't not talk about them, now could I. As anyone who follows my Dollhouse-related blogging knows, Echo was never really the draw for me. The same goes for Paul. I generally viewed the two of them as facilitators of other things. Their relationship never had me on pins and needles and as far as a romantic pairing was concerned, I could have taken it or left it. But, in spite of all this, when everything came to a fiery end, their relationship captured me in a very different way than I expected. They never really worked as lovers, but as allies and friends, they made for a solid, captivating duo. They relied on each other on a level well above a flighty romance and in many ways, that's a lot more satisfying. I had a feeling Paul would be one of the casualties of the finale (Joss has a well-known tendency for bloodbaths at the very end--I think Wesley's was the most devastating finale death to date (but only because Fred died several episodes prior)), but with Dollhouse, we all know that no one is ever really dead. There is no one essence, no one consciousness for people to hold onto. It's not that Paul died, it's that the imprint of Paul died. It's hard to know how to feel about that... This show really threw into question a lot of basic actualities of life. So long as someone exists on a wedge, is he or she really dead? It's clear that all we really are is a collection of memories, so even if some time is lost with a reboot, that person never really died. The finale sought to return life and death and identity to their normal states, but I can't help but think that Topher's wedge is still out there somewhere and may someday accessed again... much like Paul's--even if he only exists in Echo's head. It was only fitting that in the end, Echo be left alone with her thoughts, because if there's one thing we've learned from this show, it's that thoughts are all we really are, even in seeming death. I think the conceit of the show made gut reactions to horrible events more muddled than in other shows. Speaking of Angel, once again, Fred's death was so unbelievably heartbreaking and devastating when Illyria took over, but in spite of Illyria's ability to recall Fred's memories, Fred was dead and we all felt it. In terms of Dollhouse, I'm not sure that's exactly true... It makes Wesley's assent to allow Illyria to lie to him (i.e. assume the guise of Fred, where heretofore Wesley had never allowed it) even more poignant.

Boyd: Wait, what? There are a lot of things that should be said about Boyd, but I'm pretty sure, "Wait, what?" sums it up the best.

Alpha: From schizophrenic day one to psychotic end of days, Alpha was seriously and devilishly badass. I loved him in his evil days, but it was still damned delightful to see him teamed up with the resistance in the end. I would quibble that that's a little too convenient, but really, it just makes sense. Alpha and Echo have always been kindred spirits in their own very special way and it's only fitting that they'd come together in the end. As far as a big bad is concerned, he always made for a much more fabulous foe than Rossum itself, but he was never the root of the problem. Merely a symptom. One badass symptom. He may have started out as the exemplar of tech going bad, but after all was said and done, he and Echo were the evolved ones. The ones most equipped to deal with the end of the world. Even as everything was winding down, he didn't opt to hide-out underground for a year or two. He took his evolved brain, stepped outside, and took his chances with the thought pulse. Doesn't get more badass than that. And yes, Alpha, I loved the suit.

Dr. Saunders/Whiskey: If the show left me a little disappointed, it would have to be here. From the minute Dr. Saunders was revealed as Whiskey, she was instantly one of the most compelling characters on the show. Along with Adele and Topher, hers was the mental and emotional progression I cared most about. In particular, her relationship with Topher raised so many mind-bending questions that I couldn't wait to find out the answers. Much to my dismay, they were largely answers that would never come. Amy Acker's commitments on her new show didn't allow for very many episodes in season two, and I have to assume that this dictated the course her character would take to great extent. Season one set up Whiskey in the most tantalizing of ways and I refuse to believe that things would have turned out thusly if the writers had had more than three or four episodes to work with. In its own way, it was a proper send off, but that doesn't mean I don't want to know the answers to all the questions I've had for oh-so-long. I'm not saying that shows need to wrap up every detail in a nice neat little bow, quite the contrary in fact, but if the show was picking and choosing what to answer and what to leave hanging, I would rather they gave us a few hints about Whiskey over other things. Amy Acker can do heartbreak like nobody's business (as is clear from the extensive and largely unintentional discussion of Angel in this post) and I would have loved to have seen some of her secrets be revealed if only to see how Acker played it. In the end, I suppose it's fitting that she never found out any more of her secrets than we did. She decided to accept the identity she had because as far as she was concerned, that's who she was. When she opted not to find out her real identity in season one, she chose a path--a path that fortunately for her, although unfortunately for us, left a lot of questions unanswered. I can understand the impulse that sometimes you'd rather not know, but for me? This isn't one of those times.

And there you have it. I've run across more than a few reviews that have settled on "All's well that ends well" for Dollhouse, and I can certainly appreciate the sentiment, even if part of me wishes the show were still alive. While not my favorite Whedonverse project, it turned into so much more than I ever anticipated early on. That I can so lovingly talk about it in terms of other Joss Whedon projects confirms for me that redheaded step child it is not. It won't likely grace any Whedon fan's top spot, but it's a solid addition to the family. At the end of the day, it tried to be its best, and did a pretty fine job.

I'll miss you, Dollhouse. I really will.

Sci Fi Overload

Hey, peeps. I've been rather remiss about writing lately. Between most of my shows going on hiatus and my work life royally sucking at the moment, it just hasn't been a priority. I've spent my evenings working on jigsaw puzzles. Yes, jigsaw puzzles. And yes, I'm aware of how very sad that is. You want sad? I can crank out a 1500 to 2000 piece puzzle in about 3 days. This generally involves sitting on the floor for several hours at a time, hunched over my puzzle, which in turn results in a condition I affectionately call "puzzler's back." (You know, like maid's knee, tennis elbow, or dancer's hip.) Ann and gals at work basically couldn't stop laughing for about 15 minutes when I told them of my affliction--resulting in several cases of "laugher's side"). I had honestly never really thought of it as funny because I use it so often, but when I step outside the situation, I can see that's it's funny in that "ohhh, you gave it a name" kind of way.

I have my chiropractor on standby.

Anyway, this post is actually supposed to be about my science fiction shows, not puzzles (had ya fooled, didn't I). My sci fi shows are on a sliding scale these days, with none of them performing at the level I'd expect.

I miss Firefly. (As I shed a tear for the Browncoats...)

DOLLHOUSE

As any of you who watch this show know, Dollhouse has been officially cancelled, but the brass at Fox (still atoning for Firefly) have agreed to air the entire 13 episode order. They've been airing two episodes on Fridays, which is a lot to take in, but also nice to have around sans anything else. I haven't seen this most recent Friday's outings, but the two episodes aired their first week back were surprisingly good. I'm not as invested in the show as I was in season 1, and no episode can hold a candle to "Epitaph One", but I'm really enjoying where the show is going these days. The addition of Alexis Denisof (aka Wesley Windham-Price) as a politician seemingly hell-bent on bringing down the dollhouse has been excellent. I'd be lying if I said I didn't see his reveal as a doll coming, but it was still pretty satisfying to watch. Also, having Summer Glau back in the Whedonverse was a nice addition as well. Although her acting is always verging on the "doll state," she did a really great job and I hope they bring her back for more episodes (you know, before it goes off the air in a few weeks). Same goes for Amy Acker... I think the reason this season started off a little slow is that Whiskey high-tailed it out of there early on. I can't imagine she won't be resurfacing sometime before the finale (let's face it, her storyline easily has the most loose ends which will need to be tied up), but I find myself wishing she were central to just about every episode. Sigh. At least Alpha's coming back soon. :)

The episodes have been less rigidly "story of the week" as well, which is greatly appreciated. This may come as a shock, but I actually don't care what wacky antics Echo is up to this week unless it matters in the grander scheme of things. The engagements were only part of the problem. When half your cast can't remember what happened in last week's episode, it's kind of hard to build anything solid or employ any substantive story arcs. Given the self-imposed limitations of the concept, I'm shocked the show has worked as well as it has. That said, I really wish Joss and company had thought of some other conceit, some modified path for these characters to take that would have allowed for growth in a more active fashion. That Echo is really starting to remember things is encouraging, but at the same time, her fellow dolls (most of whom I care about more than Echo) are still wandering around like mindless children most of the time.

Anyway, my issues with the concept are beside the point this late in the game. I have enjoyed Dollhouse and expect the rest of the season will be quite satisfying, but I'm also glad Joss and company (did you notice that was Marissa playing Kilo?) will be able to move on to other projects (most notably the Dr. Horrible sequel (eee!)). As far as my slate of sci fi is concerned, Dollhouse is still the strongest contender.

FLASHFOWARD

Oh, FlashForward... I had such high hopes for you. Okay, that's being a bit dramatic, but the show really hasn't knocked it out of the park as one would hope. As with V (which we'll get to later), the concept of the show really only allows for one storyline. Granted the show takes a different bent on that one story and focuses on different characters in different episodes, but at the end of the day, you're stuck with one big giant endpoint: the blackout. I've been sufficiently intrigued by the blackout, who is behind it, why it happened, what implications it may have, etc., but I've also found myself feeling bogged down. Again, as with V, I keep thinking this conceit is better suited to a miniseries or a movie than a standard series. Each episode seems to be desperately trying to flesh out characters I don't care about regarding an event that I've heard about all episode every episode since the beginning of the series. Not a good sign.

I've kept up with the show because the base concept really is intriguing, but in execution, the show is falling short. This glimpse into the future has added a gravity and an earnestness to even the simplest of interactions and it's just not working to well in the long run. Every scene is dripping with too much emotion and destiny and fate and crap, and subsequently, self-importance. I'm having a hard time really caring about any of the characters and even kinda sorta hate Joseph Fiennes' role. His character is unerringly dour, stern, and humorless, and I just can't bring myself to rally around a wet blanket who doesn't even have cynicism or snark to fall back on. I'm vaguely invested in the supporting cast, but at the end of the day, I just don't really care what happens to them. If what's-his-face gets killed in March, I'm unconcerned. If that one girl gets pregnant or not (a storyline which is saccharine and grating at best), I really don't care. That dude looking for his the Japanese girlfriend, the bearded guy and his military daughter, that girl who drowns... don't care, really don't care, seriously who is that girl? It's not the kind of response a show would hope for.

Again, the over-arching story is what keeps me going, but even that's starting to wind down for me. Much of the mystery behind the blackout has already been exposed, and while it's interesting, I've got enough of the story that I think I'd be okay not finding out the rest. The heavy-handed themes about life and destiny and all that crap were fairly intriguing early on, but I'm really starting to not care. It's not a terrible show or anything, but from what I can see, my sentiments echo most people's. The show's ratings are fair, but nothing to write home about, and the numbers for the winter finale were at a series low. That, coupled with the fact that ABC cut the show's order by an episode and have put the show on hiatus until March and I think it's safe to say it won't be getting a second season. I predict that when the show returns in the spring, no one will be watching. Also, this hiatus seriously throws off their timeline... I'm starting to wonder what exactly the plan is, but really? Who cares. (This is one of those times when there needs to be a punctuation mark for when it's technically a question, but is really a statement.)

V

Speaking of disappointing, hey look! It's V! When I first heard about this show, I had very high hopes. The pilot was decent enough, but no where near the tour de force I had anticipated. It's really much better suited to a miniseries, which, wouldn't you know it, is exactly where it started. Oy. Like FlashForward, the show has set itself up so that it can really only have one storyline. This kind of high concept can absolutely work, but in both these cases, it's just kind of falling apart.

To really sum up my thoughts on V, all I really need to do is disclose the fact that I've only seen the first 2 1/2 episodes. Oh sure, I've re-watched Glee's oeuvre about a dozen times, but can't bring myself to get caught up on V. It's hard to exactly quantify why the show isn't clicking with me, but rest assured, it isn't. I care even less about these characters than I do the FlashForwarders. Elizabeth Mitchell's character? Blah. Her son? Mega blah. That guy who's actually a V--you know that guy with the curly haired fiance? Ugh. Scott Wolf? Cheesetastic (and not in a good way). The priest? Couldn't care less. The only people I find myself concerned with are Morena Baccarin and Alan Tudyk, and that's more as a result of my allegiance to the Whedonverse than anything else. I keep wanting to like the shows Whedon alums find themselves signed onto, but it just isn't working.

Like FlashForward, ABC has cut the show's order by an episode. Not catastrophic or anything, but not a good sign either. That coupled with the plan to air the show in blocks (of 4 or so episodes each) and I get the feeling ABC isn't completely behind the show. I'm kind of glad they're on hiatus though, because maybe I'll actually get around to getting caught up. Of course, they've been sitting on my DVR for weeks now, so I'm not holding my breath.

Overall, sci fi on TV (at least basic network TV) is a dying art. Fringe in hanging in there (and actually showing some gains after quite a long spell of decreases in ratings), but only time will tell if it gets another season pick-up. The way things are playing out at the moment, I'm guessing Fringe will survive, V has a chance, and FlashForward is as good as dead. Its never been the most common of genres, but it seems to be struggling more and more. Battlestar Galactica was very successful (in its own way), but again, that's wasn't basic network TV. I think sci fi is more of a niche genre and has its best chance of survival on cable. It's really hit or miss for me, but lately? It's been a hell of a lot more miss than hit.

I'm hoping the current slate of strugglers doesn't dissuade programmers from picking up sci fi in the future, but I'm willing to wager it takes a toll. Although, given the new shows sci fi had to offer up this year, I can't say I'd be totally heartbroken.

Here's hoping for better things to come...

Random TV Detritus

I couldn't come up with any logical organization for all the bits of televisual flotsam and jetsam that have been swirling around in my head of late, so I'm just going to throw them all in one miscellaneous post. Between the summer shows coming to an end, the TCAs (Television Critics Association panel-y type conference-y thingamajig), and BBC America invading my viewing agenda more and more, I've got a lot of randomness going on and simply can't be bothered to organize any of it beyond the most basic of categories. Long story short? Not thinking is muuuuch easier than thinking.

USA NETWORK UPDATES:

IN PLAIN SIGHT: While there's not a lot less fanfare involved with USA Network pick-ups, I was pleased nonetheless to hear that In Plain Sight just got the green light for a third season. It's really the little second tier show that could. I have to admit, I'm pretty surprised at just how much this show has grown on me over the past two seasons. I can't imagine it will ever become a top tier contender, but it makes for a nice addition to my schedule (especially my ridiculously slim Sunday viewing options). I'm a little afraid of where Mary's personal life is headed (what with the ill-fated engagement and all), but at least her mother has seemingly disappeared and her sister has been reduced to cameos. The writers are building up the sexual tension between Mary and Marshall and it's becoming more and more apparent that Marshall thinks of her as more than just a partner. It's a pretty standard storyline, but I have some ideas on how the writers could make it pretty awesome. I don't know that I'd ever like to see Mary and Marshall become a couple or anything, but I do enjoy the differing agendas going on. My predictions? I think the third season will illuminate to everyone the true nature of Mary and Marshall's relationship. Raf may be her romantic partner, but Marshall is quite clearly her partner in every other conceivable sense of the word. I'm not sure to what extent Marshall may or may not be in love with Mary, but I'm excited to find out. I realize I'm the only person who watches this show, so I don't expect anyone else to jump on the bandwagon here, but I'm thinking next season is going to be pretty awesome. The season 2 finale is on Sunday, so if you're just now thinking you'd like to give it a shot, this wouldn't be the most ideal time...

ROYAL PAINS: In other pick-up news, Royals Pains got the go ahead for next year after surprisingly decent ratings. Royal Pains isn't as horrible as I would have expected (it's fairly watchable, if not anything to write home about), but I think I'm giving it the official heave-ho. I've only kept up with it in the most cursory of ways, but even that is more than I really care to give. If USA didn't make it so damned easy to keep up with crap (what with airing them a million times), I'd have never have given it this much of my time. The fact that it's a summer show also played a part... In spite of all these aspects, it's as blah as ever and I'm done.

BURN NOTICE: Awww, Burn Notice. Eases the pain. How insane has this season been? With each passing episode, I become less and less supremely confident that everything will work out okay. Michael Westen may have actual magically powers when it comes to spy-ishness, but the baddies have been coming out in full force this year. While past seasons have been much more specifically client-of-the-week, this season has seen Michael and company be the clients more and more often. The tension between Mike and Fi hasn't helped calm the seas either. I'll be posting more about Burn Notice after Thursday's mid-season finale (which, holy moly, have you seen the sneak peek pics?! Ahhh!), but for now, rest assured that my most darling of shows has been renewed for next season, much to no one's surprise. The second half of the third season won't air till January 2010 (gah!), so soak up all the Burn Notice-y goodness while you have the chance.

CW NETWORK UPDATES:

THE BODY POLITIC: In spite of the fact that it had some serious potential, I'm hearing that The Body Politic is officially dead. Network president Dawn Ostroff confirmed today at the TCAs that the show won't be making it on the air, not even at mid-season as so very many people (read: me) had hoped. Word is, the actors have all moved on and been cast in other productions. I don't know if Dawn herself held the ax on this one, but I choose to blame her regardless. Here's hoping Jason Dohring finds a new gig that won't get cancelled... assuming he finds something that gets picked up in the first place... Oy.

GOSSIP GIRL: In better CW news, I'm also hearing that the rather unfortunate Gossip Girl spin-off with Lily's backstory is looking unlikelier by the minute. No official death notice, but it doesn't sound like it'll ever happen. That's not say that a spin-off isn't a possibility in the future, but that the original conception won't likely make it off the ground. I, like many, am rather relieved to hear this... Those Lily flashbacks were...not good, we'll say. It's a shame too because there were more than a few Veronica Mars alums in that thum thar flashback sequence...

OTHER NETWORK UPDATES:

DOLLHOUSE: I finally got around to watching the unaired pilot (you know, the one that was pretty much entirely scrapped) and I have to say, in many ways I liked it quite a bit better than the pilot that actually aired. I've heard conflicting reports of just why the original pilot was scrapped, and although the prevailing notion is that Joss himself was unhappy with it, I maintain that the brass at Fox had more than a little to do with it as well. In the plus column, the original pilot felt a lot more Whedon-esque, it explained the rules of the Dollhouse universe in a way that made much more sense and was much more logical in application, and most importantly, it didn't have the largely weak A-plot story-of-the-week of the official pilot (the aspect with which I was the most unimpressed). The hostage negotiator, procedural-style A-plot of the official pilot left me underwhelmed, a little annoyed, and tended to muddy the waters as far as the science and lore of the show is concerned. To be fair, it's hard to know how I would have reacted to the original pilot had I not seen the entire series thus far, but I'm supremely confident I would have liked it better. In defense of the official pilot, had the original aired instead, the series would have taken a very different path. In the original pilot, Ballard meets Echo right off the bat, Victor is revealed to the audience as a doll, and Echo's notions of self are already starting to show. The original set thinks up more clearly, but threw a whole lot of plot progression into that single episode. I've never been one for weak A-plots, so I think that's my primary bone of contention with the official pilot and really shouldn't reflect on the entire pilot as a whole, but kinda does... In terms of a pilot setting up the rest of the season, I can be persuaded that the official pilot was better, but as a stand-alone, I think the original had more going for it. I haven't watched Epitaph One yet, but I hear it's a whole lotta "huh?" For which, I'm unduly excited. :) In other Dollhouse news, I'm hearing Amy Acker (aka Dr. Saunders aka Whiskey) has been confirmed for three episodes for season 2. Thanks to her role in Happy Town, she just isn't as available and one would hope... Here's hoping they make the most of those three episodes. No official word yet on Alan Tudyk, but I'm hearing he'll be back as Alpha somewhere toward the middle of next season. In casting news, I'm hearing that Battlestar Galactica alums Apollo and Saul Tigh will be joining Helo for an episode a piece. Apollo is set for the premiere, as I recall... In even more exciting casting news, I hear that Alexis Denisof (aka Wesley from Buffy and Angel) is on the docket for next season. Yay! I've missed him... And I'd love to see him and Amy Acker onscreen together again. Finally, I've also heard the Felicia Day will find her way into the mix again somehow and there are plans to bring Summer Glau into the fold, although nothing official has been written. The show (as with most Whedon productions) is pretty much turning into one big family reunion--only this is a reunion you'd actually want to attend. :)

SKINS: Most of you have probably never even heard of Skins, but I'm going to tout its premiere nonetheless. For some connections for you, one of the kids in the show (Dev Patel) went on to star in Slumdog Millionaire as Jamal and remember that socially awkward kid (Nick Hoult, pictured) from About A Boy? Well, he's all grown up and raising hell for the first two seasons. (Quite contrary to what you'd have thought after seeing About A Boy, he totally plays the leader of the pack, the rake, the cad--basically the tool.) The third season starts up on Thursday and I'm more than a little giddy, if slightly apprehensive. Skins follows a group of British teens as they try to find their way in a world of questionable parenting, drugs, sex, violence, and pretty much everything else. It sounds like your straight-forward teen drama, but as with so many British shows, it doesn't pull any punches and has a much grittier, edgier feel to it than most of what's available on standard American programming. Along with the grit, the show is bitingly funny and manages to blend serious character development in with all the light and dark and crazy of the world around them. My apprehension comes from the fact that, aside from Effy, it's an entirely new cast. I'm sure the writers will knock it out of the park once again in spite of the new cast, but I just don't know if it'll be the same without Tony, Michelle, Sid, Cassie, and company... Regardless, I can't wait to find out. :) Seasons 1 and 2 are available on iTunes, if you're interested. Bear in mind, it's definitely not G-rated, so you've been warned. If, however, teenage debauchery is up your alley, you've officially hit the jackpot.

Who'd have guessed Fox would come through for me in the clutch?

The upfronts were last week and they came with more than a few surprises. The fates of NBC's shows were decided a while ago (yay for Chuck! (even if we'll have to wait till March)), so now I can move on to the other nets.

The Fox network has a long, painful, sordid, disappointing past, but they made a real effort to redeem themselves this year. Network president Kevin Reilly gave Dollhouse a stay of execution and allowed for a 13 episode initial pick-up for next season. In spite of criminally undeserved low ratings, Dollhouse's notable online numbers and Whedon's obsessive fans help get a renewal. Deep down, I think Reilly was just sick to death of Whedon fans decrying the network day in and day out, but motives aside, I'm thrilled it got a pick-up. It started out a little shakey, but really hit its stride as the season went on. And, if precedent serves, the second season will be even better than the first. The fledgling seasons of Buffy and Angel were good, but the second seasons were much, much better. So let it be with Dollhouse.

The DH renewal provided a win for nerds, but the cancellation of Terminator: The Sarah Connor Chronicles was a fair blow for many. I never got into the show, but I hear it was really solid, and the fact that it featured Summer Glau (a Whedon alum) automatically wins it some points. The TSCC fans cried foul when DH got picked up and TSCC didn't, but TSCC got a reprieve last year and was granted two seasons total, so I say it's DH's turn. :) Plus, now Summer is free to jump shows. While she would make an excellent doll (let's face it, she's basically been playing that role for years now), it sounds like Joss has other plans in mind. Whatever happens, I'm excited to see it.

A final note on Dollhouse, before I get to the new pilots, it's sounding like the episode titled "Epitaph One" won't be airing on Fox and will only be on the DVD set (and possibly at Comic-Con). Felicia Day (aka Penny from Dr. Horrible) plays some sort of post-apocalyptic fighter girl, so I'm completely stoked. Oh, Joss. Only he would cast Felicia in such a role. Awesome. For an interview with Felicia where she talks about DH, go here.

Anyway, in other picked up and cancelled Fox news:

Pick-Ups:
24, American Dad, American Idol, Bones (for 2 seasons... yay...), Dollhouse, Family Guy, Fringe, House, Kitchen Nightmares, Lie to Me (for 13 episodes--initially), The Simpsons, and 'Til Death

Deaths:
King of the Hill, Prison Break, Sit Down Shut Up, and TSCC

So yeah, those are the kiddies who will and will not be returning next year. Among those that will be returning will be a slate of newbies, most of which will suck. Here are the new shows you get to look forward to, or in the case of a few of these, avoid like the plague...

Below are the official descriptions and then my initial assessments of them.

PAST LIFE

Network Write-Up: From writer David Hudgins (“Friday Night Lights”), and inspired by the book “The Reincarnationist” by M.J. Rose, comes PAST LIFE, a new drama series about an unlikely pair of past-life detectives who investigate whether what is happening to you today is the result of who you were before. DR. KATE MCGINN is not your typical psychologist. Confident, outspoken and highly educated, she works at The Talmadge Center for Behavioral Health in New York City, a world-renowned institute dedicated to the study of the science of the soul. After experiencing a past-life regression in her 20s, Kate became a believer in reincarnation. Using regression therapy and her natural gift for reading people, Kate helps solve the mysteries of her troubled clients who suffer from present-day problems caused by past-life traumas. She believes there are levels of consciousness and explanations for human behavior that science can’t begin to explain. Accustomed to skeptics, but not bothered by them, Kate is an unapologetic believer and a force of nature who marches to the beat of her own drummer. Her partner, PRICE WHATLEY, is a different story. A former NYPD homicide detective, pragmatic and cynical, Price is a damaged soul who constantly battles grief and guilt over the accidental death of his wife. Price feels that Kate, though not certifiable, certainly operates on the fringes of science. It's a volatile relationship, but with Price's solid detective skills, and Kate's penchant for out-of-the-box thinking, together they make a formidable, if somewhat dysfunctional, team. A fast-paced emotional thrill ride, each episode finds Price and Kate working with their colleagues to unravel a new mystery involving the past-lives of their clients. DR. MALACHI TALMADGE (Richard Schiff, “The West Wing”) is Kate’s mentor and the center’s namesake, an avuncular but gruff elder statesman who is a legend in the field of cognitive research.



My take: Yeah, you lost me at "the world's authority on past lives." Apparently when all the real professions have been played out on TV, you have to start making some up. Fortunately, the people employed by this fake profession are pretty and blonde, so who cares! I don't know, in the right hands, with the right showrunner, and handled in just the right way, this could work, but the odds of that being the case just aren't good. The trailer alone struck me as nothing but lame. I kind of like the Minority Report cinematography (a conceit that was handled in just the right way so that it actually worked), but the concept is just so very silly that all the pizzazz in the world likely won't save it. It's a shame that so much money and talent went into such a cheeseball story. Richard Schiff? Really? I'm so disappointed...

HUMAN TARGET

Network Write-Up: It takes a brave, selfless man to make himself a “human target” in order to save the lives of those in danger. Based on the popular DC Comics comic book and graphic novel, HUMAN TARGET is a full-throttle action drama centered on CHRISTOPHER CHANCE (Mark Valley, FRINGE), a unique private contractor/security guard hired to protect. Call him what you like, because for Chance, it’s about one thing only: saving his clients’ lives. When there is an unusual or imminent threat that can’t be solved through “normal” means of protection, Chance is hired to completely integrate himself into his clients’ lives – to become the human target. If you’re a corporate manager whose disgruntled employee has gone violently off the deep end, Chance is your new auditor. If you’re the president of a bank who’s been tipped off to a potential heist, Chance is your unassuming bank teller. During each job, Chance, assisted by his business partner WINSTON (Chi McBride, “Pushing Daisies”) and hired gun GUERRERO (Jackie Earle Haley, “Watchmen”), puts himself directly in the line of fire as he races against time to save his client, while unraveling the truth behind the mission. With every new danger, Chance’s dark history will also unravel. Does anyone know who Christopher Chance really is, or what secrets lay buried in his past? What would make a man willingly become a HUMAN TARGET?



My take: This one looks like it could be fun, but it also looks like it's trying to be Burn Notice, and NO ONE can hold a candle to Burn Notice... It's got your typical "he's a badass with specialized skills who can do things no one else can" conceit, which is overdone, to be sure, but it has a solid cast (for the most part) and doesn't appear to take itself too seriously (which is appreciated). I love Chi McBride and Jackie Earl Haley always does a great job, but I have to admit, Mark Valley doesn't really do it for me... I didn't like him in Fringe, but I'm hoping he's better here. All in all, this one looks like it could be a lot of fun. It could also be a completely pointless shoot-em-up action show without any real substance, but I'm hopeful that's not the case. I'm not sure who the showrunner is at this point, so it's hard to tell. Based solely on the talent involved and the trailer, I think this one has some real potential. Don't get me wrong, I'd still much rather have Michael Westen watching my back or keeping me safe, but surely he can't save everybody (and would probably take pleasure in seeing Carla die in a train wreck). Overall, I think this show could work and I'll definitely be giving it a chance. Oy, speaking of, Christopher Chance? Seriously? That's the name? Was Warren Fearless already taken? Ugh. I'm going to choose to ignore that...

GLEE

Network Write-Up: McKinley High School's Glee Club used to be at the top of the show choir world, but years later, it has turned into a haven for misfits and social outcasts. But at McKinley, things for the Glee Club are about to change. From Ryan Murphy, the creator of “Nip/Tuck,” comes GLEE, an uplifting comedy musical series with biting humor that features a soundtrack of hit music from past to present. The show follows an optimistic high school teacher as he tries to refuel his own passion for singing while reinventing the school's glee club and challenging a group of ragtag performers to realize their star potential. WILL SCHUESTER (Matthew Morrison), a young optimistic teacher, has offered to take on the Herculean task of restoring McKinley's Glee Club to its former glory with the help of fellow teacher and germaphobe EMMA PILLSBURY (Jayma Mays). It's a tall order when the brightest stars of the club include KURT (Chris Colfer), a nerdy soprano with a flair for the dramatic; MERCEDES (Amber Riley), a dynamic diva-in-training who refuses to sing back-up; ARTIE (Kevin McHale), a geeky guitarist who spends more time avoiding bullies than chasing girls; and TINA (Jenna Ushkowitz), an awkward girl who needs to suppress her stutter before she can take center stage. Will's only hope lies with two true talents: RACHEL BERRY (Lea Michele), a perfectionist firecracker who is convinced that show choir is her ticket to stardom; and FINN HUDSON (Cory Monteith), the popular high school quarterback with movie star looks and a Motown voice who must protect his reputation with his holier-than-thou girlfriend and head cheerleader, QUINN (Dianna Agron), and his arrogant football teammate, PUCK (Mark Salling).



My take: Okay, so the Glee pilot has actually already aired, so my take actually kind of knows what it's talking about this time (for once). If you'd like to watch the full pilot, it's available here. Not only is it available, but it's pretty damn awesome to boot, so I would seriously suggest checking it out. The pilot was really solid, but I have to say that the preview of next season looks even better. (The pilot aired a couple of weeks ago, but the show won't officially start airing till this fall.) Anyway, this show is from the same guy who was behind Popular back in the day, and most recently worked on Nip/Tuck. I adored Popular and I quite enjoy me some musical elements, so it's little surprise the I enjoyed Glee. I think the only reason I didn't completely adore the pilot is that it's largely the same plot as the movie Election, with most of the same characters, only you have to substitute "student council" with "glee club." It even has the same tone and visual style. Don't get me wrong, Election was a great movie, so if you're going to borrow from something, I would highly suggest it, but it was a little off-putting just how many similarities there were. Anyway, deja vu aside, I think it's going to make for a great series. The pilot was a lot of fun, but also snarky, with an edge of dark humor. Even if you're not into musicals, I think you'd enjoy this show (which isn't really a musical anyway). Word is, Alias spydaddy Victor Garber, Pushing Daisies alum Kristen Chenowith, and Wicked star Idina Menzel will all be making appearances on this show coming this fall, so even if I had hated the pilot, I would still be tuning in. What can I say? I'm a sucker for a great musical number, and with Pushing Daisies over and dead, I need a new outlet. :)

SONS OF TUCSON

Network Write-Up: In the tradition of “Malcolm in the Middle” and “The Bernie Mac Show,” SONS OF TUCSON is a family comedy about three brothers who hire a charming, wayward schemer to stand in as their father when their real one goes to prison. What begins as a business relationship evolves into something more complex and compelling: a family unlike any we’ve ever seen. The three brothers find their dad-for-hire, RON SNUFFKIN (Tyler Labine, “Reaper”), at the local sporting good store. Ron will be forced to draw on a wide array of skills and a vast bag of tricks as he steps into the patriarch role to take care of the boys of the Gunderson family. ROBBY GUNDERSON, 8, is a loose cannon who doesn’t take garbage from anyone; GARY GUNDERSON, 11, is a bright and street-savvy leader who is every bit the con man his father is; and BRANDON GUNDERSON, 13, is a gentle free spirit who goes along for the ride. MAGGIE MORALES, Robby’s second-grade teacher and the object of Ron’s affection, might just be the only stable figure in the lives of this quirky quartet.



My take: Meh. It doesn't look terrible, but it didn't really jump out at me either. Tyler Labine never really held much appeal for me on Reaper, and I'm doubting he will here either. It looks like it could be all right, I suppose, but the whole "he's a fish out of water who doesn't know how to be a dad" thing could get real old real fast. In summation, meh.

MENTAL

Network Write-Up: When DR. JACK GALLAGHER (Chris Vance, “Prison Break”), a dynamic and radically unorthodox psychiatrist, is named Director of Mental Health Services at a Los Angeles hospital, his unconventional style leads some of his new colleagues to believe he may be as unstable as his patients. MENTAL is a medical drama that explores the complexities of the human mind as never before. To Jack, each case is a puzzle to be solved. Confronted with each patient’s crisis, including unknown, misunderstood, and even misdiagnosed conditions, Jack must plunge inside the mind of his patients long enough to uncover what might be the key to their long-term recovery, often times working against the clock and his patients’ wishes. Ever the rebel, Jack insists on getting to the root of his patients’ illnesses by exploring first who they are as human beings, but as he fights to help his patients quickly, he must often work within only a legal 72-hour hold to determine a diagnosis. Jack must reconcile his effective, yet highly unconventional practices with his conservative boss, hospital administrator NORA SKOFF (Annabella Sciorra, “The Sopranos”), who puts her own reputation on the line by hiring him. Unfortunately, his colleagues remain resistant to his treatment methods, including dedicated psychiatrist DR. VERONICA HAYDEN-JONES, who was passed over for Jack’s position, and DR. CARL BELLE, a master politician with a polished exterior who is dedicated to Jack’s downfall.

Here's a clip:



My take: This is another one of Fox's new pet projects which has already aired. I would provide you with the link to the full pilot, but trust me, it not worth the effort. The pilot was bad. I mean really, REALLY bad. Aside from Seymour (from Burn Notice) and Maury (from Gilmore Girls), the pilot had no redeeming qualities. And lest you think those two are enough to compensate for all the rest, they aren't series regulars. They were just patients of the week. The promos and brief clips for this show really don't do the horribleness justice. I'm shocked this turkey even got picked up. The writing was atrocious, the acting was almost as bad, and the overall concept has been done and redone a thousand times, only to a much more successful end. This show is basically House, but crappy. He's a renegade doctor who does what it takes to save the patient and doesn't care who he pisses off in the process. The guy on Mental isn't quite so snarky, and the woman playing the Cuddy on the show wears glasses, but otherwise, it's basically the same idea. Only awful. Don't waste your time with this one. The only real merit I found was in the risibility of the show. This show was so bad it was funny, but not so bad it was awesome. It was actually kind of sad to watch. That, and painful. Bad, bad, bad, bad, bad... It's crap like this that makes me understand how shows like The Mentalist stay on the air... The bar is low, people. Really low. I mean, they must have special ordered or sent away for that sucker...

Anyway, there were a couple of other shows on the slate, but neither jumped out at me. One was a new animated comedy that I assume will follow in the footsteps of Fox's current slate of comedies and the other was about a football player or something. I didn't read past "football."

So there you have it. As a professional TV watcher, I'll likely be checking most of these out, even if I don't really want to, but that's the burden I bear for having no life.

A Fifth of Whiskey...

...goes a hell of a long way.

**SPOILERS ABOUND**
So if you haven't watched the Dollhouse finale, I'd suggest you do so before venturing any further... and after looking at the length of this monster, I'd suggest you pack a lunch and take frequent breaks... I have way too much time on my hands--yet not enough to proofread, so good luck...

With a show like Dollhouse, you find yourself questioning just about everything. In a universe where anyone can be anyone, and reality is completely subjective, it's tough to nail down the edges and hammer out the exact details (annnd I seem to have stumbled into an unintentional carpentry metaphor... huh). Henceforth, at various points during the season, I've questioned who may or may not be a doll with just about every character in the show. That said, I'm thrilled to say that I honestly didn't see Whiskey coming and it made for a pretty delightful reveal.

When Wash was revealed as Alpha, it was fairly anticlimactic given that I had learned that this was the case well beforehand. As I watched the episode, and Alan Tudyk quickly shifted from meek scientist to psychotic killer, I couldn't help but to think that for viewers who didn't know that was coming, it must have been an awesome reveal. It then occurred to me that the only people watching Dollhouse would be people who would already know who Wash was and that he was going to be playing Alpha about 8 episodes ago. Nevertheless, it was well done and Alan Tudyk's performance was completely badass from beginning to end. An even better reveal, although I actually saw this one coming, was November. I suspected that she was a doll from the very beginning, but the sequence where Adelle flips the switch over the phone so that November can totally kick some ass was masterfully done. I suspected she was a doll, but I didn't see that reveal playing out like that at all. The cutaway from Paul calling the house as he raced back and then having the answering machine pick up with Adelle's voice was absolute genius and made that episode one of the very best of the season.

Those reveals were impressive enough, but the fact that I didn't see Whiskey coming made her reveal much more satisfying. I'm extremely glad I didn't know (even though as I'm typing this, I keep thinking, "I probably should have seen that coming..." and trying to decide if I'm a moron for not knowing) because the reveal, a true reveal this time, was fantastic. It was especially delectable because the reveal that Dr. Saunders was a doll, a doll that was closely tied to Alpha when Alpha first started to go off grid, answered a hell of a lot of questions. Though the revelation wasn't quite as thrilling as November's, it was much more meaningful.

When I saw the figure silhouetted, I assumed it was Echo (as I'm sure was the show's intention). That's kind of where I kick myself for not thinking about it harder and not seeing it coming that the dancing figure might not be Echo. I feel like I should have known. In my defense, however, I assumed that the show was simply reminding us of how very "on Fox" we were, because nothing spells Fox programming quite like a scantily clad dancing girl (and let's face it, it would have been about the dozenth time this season that Echo would have filled such a role). Whether I should have seen it coming or not, I didn't (I was going to lie and say I did, but in the interest of full disclosure, I'll admit to being a fool) and when Dr. Saunders stepped out from silhouette and was clearly a doll, a barrage of oh-well-that-explains-a-lot!s went off in my head. Awesomely, delightfully, brilliantly.

I spent the rest of the episode thinking of everything that had happened on the show and how Whiskey had been built up without my knowing it. I was so focused on how Echo and Alpha formed the crux of the narrative that Dr. Saunders somehow slipped by. That revelation goes back to pretty much every previous episode and explains a hell of a lot, and for a viewer, there's no better turn than one that informs on all other events. It's why the Sixth Sense was such a success. Seeing Whiskey and Alpha interact while they were on their Natural Born Killers assignment explains why he didn't kill her when he killed everyone else. There was a connection there. A connection that Alpha's real alter ego appreciated. That Dr. Saunders is a doll explains how she would have seemingly implicitly known that the actives needed closure in that episode where Echo, Victor, Sierra, and November were allowed to "wake up" and take care of things in their real lives. It explains why Alpha asked her if she had always wanted to be a doctor and then mocked her affirmative response. It explains why Dr. Saunders has always had a more sympathetic relationship with the dolls, because (whether she realized it or not), she related to them on a fundamental level. It also explains how she came to have such a job in the first place, why she never seems to leave, and how a young, attractive doctor would seemingly have no friends or associates outside the house. And most thought-provoking, it shed a curious light on Dr. Saunders' relationship with Topher, who programmed her in the first place, although that asked a lot more questions than it resolved. It answered all those questions and more and the flashbacks to her days as a doll helped outline what happened with Alpha, how Echo got mixed in with all this, and what imprint he gave Echo to get her out of the dollhouse. It was exceedingly satisfying and quite a delight as all those things that I had questioned fell into place all at once.

The season (series?) finale was at its best with its flashbacks and Whiskey-related revelations. I found myself much less interested in Echo's perils than with the good Dr. Saunders and her heartbreak at realizing she was a doll. This whole show has reminded me of Blade Runner since day one, and Dr. Saunders realizing who she is/was was as poignant as Deckard illuminating the fact to Rachael that all her memories were fake and that she was herself a replicant. Take into account the theory the Deckard was himself a replicant and the actives in the Dollhouse take on even more parallels and titillating dimensions. For me, the Whiskey storyline was at least as important as the Alpha/Echo craziness, and as far as I'm concerned, a lot more visceral and delivered more meaningful impact. The scene where Dr. Saunders confronts Topher was probably the best, most memorable, and most engaging event of the finale. To see Topher, who heretofore had basically been an amoral prick with a serious god complex, truly, deeply, emotionally affected by the situation was completely gripping. The confrontation begged so many questions about their relationship that I want to know the answers to, but more than likely never will (damn network--odds are my darling Dollhouse won't be coming back next year). I loved that she broached the confrontation with the fact that he programmed her with rather more computer skills than she would likely have had. He programmed who she is and he chose to give her a skill set that a doctor wouldn't need just because he wanted to. He also programmed her to hate him and seemed truly disappointed and even a little crushed that she didn't want to see who she really is/was. Why? Why does he care about her and no one else? Why would he made of point of keeping her at a distance? Was it their past? Did he know her real self? Did he recruit her into the Dollhouse in the first place? Is that how he came to be there too? Did he program her with enough computer skills to hack his system (which would have to be a hell of a lot of skills) because he wanted her to find out? Why does she not want to know who she was? So many whys, so few answers. Of all the crazy that happened in the finale, that interaction is the one the truly stayed with me and has me lamenting the fact that the show probably won't be back the most. Whiskey's revelation and Topher's emotional progression carried the most intrigue for me and hearing Topher's voice break as he wiped Echo at the end of the episode was perfect.

I'm sure as you're reading this, you're completely incredulous that with all the awesome Alpha stuff and all the crazy Echo everything, that Whiskey is what most caught my attention, but there it is. I think it's that Dr. Saunders is a consistent character. She's been the same imprint since the very beginning, so unlike Echo, I feel like I know her character and I genuinely care about her. Echo is someone new from week to week, and what little I know of Caroline wasn't enough to really endear her too me. That the wedge with Caroline on it was in danger was a concern to me, but more so because it was a concern to others (Ballard and Boyd), rather than a deep, intrinsic fear that her persona would be lost forever. I cared because characters that I care about cared, and in that sense, Echo's peril just didn't resonate with me in the most meaningful way...

That said, as enamored of Whiskey's storyline as I clearly was, Alpha's and Echo's journeys were the real A-plot and were what Whiskey's storyline provided the most backstory for, and I would be remiss not to pay it due attention.

Although the action/thriller/horror aspects to Alpha's story were enthralling and central to the overall season narrative, I found the more cerebral facets to be just as entertaining. I really loved the thought that Alpha's new imprint(s) could be angry and resentful at his true self for allowing himself to be wiped in the first place. That the new imprints would immediately destroy the original wedge really grabbed me. Was it mere resentment that his true self would be so stupid (not knowing, I suppose that he was a prisoner who likely had no choice), or was it some sort of survival instinct? Does each imprint realize that it can be wiped and essentially erased? It gave the whole concept of imprinting a fascinatingly parasitic quality that really struck me. It's a dynamic between characters that I've never really experienced before, and that's something special, something unique. I particularly enjoyed that Alpha clarified that it's not multiple personalities, it's multiple people (even though one of his people has multiple personalities--heh). I've seen multiple personality disorder before, where one personality is aware of all the others, but to see dozens of personalities all at once, and manifested in this way, was a very different and much appreciated experience. That dozens of individual, sentient beings (essentially) were governing Alpha's decisions led to a wide range of actions and reactions, motives and agendas, desires, fears, and vendettas that were wonderful to see played out.

I have to admit though, my conception of what the "composite event" that he experienced was far different that what I had expected. I had always assumed that his past imprints were somehow reactivated in his brain, as though they were never truly wiped from the mainframe. The actual composite event was much different, although the fact that his true self manifesting formed the basis for the event was spot on.

With a show like this, it's always difficult to know where you stand and what limits have been imposed. Unlike past Whedon productions where the rules are often explained in length (thank you, Giles, Wesley, Fred, etc...), the Dollhouse universe seemed to have a more empirical construction, and that made it all the harder to keep track of, but all the more rewarding to see it played out. Episode to episode, I had (and still have) numerous questions about the science of it all. Phlebotinum showed up in my explanations with astounding frequency, but I was willing to go with it. There are still issues that I find irksome (like how exactly did they get this giant catalog of personas? and how is it that a conscious, sentient being is extracted, not just their memories?), but I was willing to let those go by the wayside for the sake of the story. With Dollhouse, we mostly know what is possible because we've seen it in other characters. It's a sneaky way to construct the rules of your universe (especially when your universe isn't overtly furturistic or fantasy), but it allows for less exposition and a more natural learning process for the audience, which I appreciate.

With Buffy, a hell of a lot of things were explained and defined upfront and then episode to episode, as needed. Dollhouse had its fair share of exposition, but the most meaningful information was empirically proven or denied. Which brings me back to Alpha and Echo. The flashbacks of Alpha first seeing Echo and becoming inexplicably drawn to her, in a way that neither he, nor the Dollhouse, would have expected or understood, is entirely possible and believable because of Victor and Sierra. What may have seemed like a minor love-story subplot actually formed the basis for the entire narrative. The audience knows that this is possible and how it can manifest because they've seen it in others. That Alpha's true self was able to shine through is understandable and possible because we've seen it in Echo. That Dr. Saunders could be a doll and not even know it is possible in the same way. That the current persona could be cognizant enough to want to keep the body it's in is a reality because of the episode with Adelle's friend who died. Even something as seemingly meaningless and innocuous as the actives being programmed to want to be their best while in the doll state turned out to be absolutely pivotal. Take that fundamental wish, combine it when Alpha's obsession with Echo and his true psychopathic self shining through and Whiskey gets disfigured so that Echo can "be her best." The rules and parameters of this universe are neither clear nor finite, but they exist because we've learned them the way any newcomer would learn--observation, trial, and error. It makes the questions that arise week to week much more perplexing to answer, but that's part of the fun. Echo's journey over the course of the season has been almost as murky to viewers as it has been to Echo, Paul Ballard, Topher, Adelle, Boyd, and everyone else.

Essentially, the viewer had the same perspective as Ballard. Like the audience, he didn't know how the universe operated and had to piece things together based on observation, trial, and error. That he became so consumed with Caroline is largely because she represented a huge unknown. It's a big part of why the viewer cared about her too. She was the key to understanding the Dollhouse, so in spite of her new personality each week, she was the key to something much more fascinating. It's for this reason that I was less concerned with Echo's (and Caroline's) fate than with Alpha's, Dr. Saunders', Topher's, and Ballard's. At the end of the day, she's still just a piece of something much much bigger. And as counter-intuitive as it feels to discount the lead character in such a way, that's where I ended up, and I think it's where Ballard ended up to large degree as well.

I may not have seen the Whiskey reveal coming, but I did see predict that Ballard had selected November to be the doll released, not Echo. Aside from Echo kind of being important to the show and all, Ballard's fantasy is essentially over. He rescued Caroline, though he did so in a way that was far less glamorous than he ever could have imagined. Unlike the Sleeping Beauty fantasy he had constructed for himself where he'd storm the castle gates and rescue the blushing damsel, saving Caroline boiled down to catching a computer chip before it hit the ground. Caroline represented the unknown, the key to something much more intriguing than any one person could be, and now that Ballard has broken into that universe, Echo/Caroline is much less of a mystery and much less of a fantasy. He had only had an emotional connection with her in his mind, whereas November was a real flesh-and-blood person. A person he knew was a doll, but took advantage of her anyway. That's why he picked her. He was still wracked with guilt over his past actions with her and saw this as the only way. But, in a sense, he managed to have his cake and eat it too. In essence, he gave up what little was left of his fantasy of Caroline by choosing November instead, but he also got to keep his fantasy locked away in her little pod. What if Caroline wasn't all he had envisioned? What if it all ended with her walking out the door? At this point, Ballard is wholy and entirely invested in the Dollhouse and Echo/Caroline, and I don't think he wanted to give that up.

In this respect, the show threw me for a bit of a loop. Going in I expected to be completely invested in Echo and to see Echo's true self and her past imprints manifest over time, but at the end season, I found that I was much more invested in everyone else on the show. Echo proved to be merely a device for all the other characters to be presented. Her story was central and intriguing, but having a new personality each week began to wear on me. I found myself wishing she remembered what happened last time and focusing more on characters who did remember. Even the other dolls turned out to be more primary in my focus, particularly with Whiskey being revealed. For me, Echo was more of a gateway than anything else, and although she's beginning to remember who Caroline was, I'm not yet invested enough in Caroline to make her my primary concern. As the finale drew to a close and Echo whispered her real name, I was thoroughly bummed out that I'll probably never get to see Caroline truly find a place in my heart (as the show likely won't be back next season). I'm not sure why the other dolls grabbed me more than Echo, but I would have liked her to have had another season for her to become more sentient, more detailed, and ultimately more essential as an individual, not just a cog in a terrible wheel.

There are so many things I would have loved to have seen in second season. That Alpha is still out there is fundamental to the overarching story, but it's the shifting relationships within the dollhouse that I would most liked to have seen fleshed out. That Ballard has taken a position with the enemy, that Topher has a heart, that Dr. Saunders is a doll, that Boyd has questioned his allegiances, and that the entire organism has been tested ethically, procedurally, and technologically are all pivotal dynamics that I'd like to see more of. But, as mentioned previously, it's looking pretty grim. The ratings just aren't there and I don't see Fox taking a chance on anything that isn't a safe bet. The show started off a little uneasily, but really did find its stride and turned into a first tier show all the way.

All the half-naked Helo didn't hurt either...

I'll miss you, Dollhouse. I'll hold out for a miracle, but I won't be holding my breath. At least Castle's chances are looking better and better, right?