Closing Its Doors. For Good.

During the airing of Dollhouse's series finale on Friday night, Fox cut off the show in the middle of what I can only assume was the final scene. Considering this show's short, tumultuous history, what could have been more appropriate?

Dollhouse should not have had a second season. The show's ratings were consistently in the toilet. Countless shows have gotten sacked after one or two episodes with the sort of ratings Dollhouse invariably received over its 25 episode run on Fox. Perhaps the folks at the network felt guilty about their idiotic treatment of Joss Whedon's last show, Firefly. Perhaps they knew that Whedon's rabid fanbase would guarantee great DVD sales. Perhaps they had lower expectations in this age of internet, video games and cable TV. Regardless, Dollhouse's improbably long run had nothing to do with the show's quality. It was too damn inconsistent to sell on the grounds that it was a critical hit. Time and again, Dollhouse would make fools of pundits like me, following moments of genuine brilliance with disastrous stumbles. So, now that the show has reached a finale that was as much of a mixed bag as ever, how much will the show really be missed?

After the First Season ended on an extremely high note, I, like many others, was convinced that Dollhouse had found its groove. Mr. Keeley reviewed the Second Season premiere, "Vows," as a newcomer to the series and approved of it – with a few reservations. Those reservations were not misplaced and, for viewers of the First Season, the episode's flaws were disconcerting. "Vows" displayed far too many of the issues that plagued the series' earliest episodes, as I explain later in that post myself. With the following episode, "Instinct," the series bottomed out. An absolutely boneheaded premise was coupled with little-to-no advancement of any major plotlines.

I was already wondering if I would bother to watch the next episode. The realization that Dollhouse would never be a consistently good show dawned on me.

This is partly why the episode that came three weeks later was such a revelation. To call "Belonging" bold is an understatement. It told the story of Priya (Dichen Lachman), a young woman who is the object of a self-indulgent doctor's desires. This doctor, Nolan Kinnard (Vincent Ventresca), tries to sweep Priya off of her feet upon meeting her, but she quickly comes to hate his decadent lifestyle. After she publicly rejects him, he hatches a complex plan with a simple goal: enslaving her. The result is that Priya becomes Sierra, a doll whom he buys on a regular basis – a doll imprinted as a pliable, approving version of Priya.

If most network television dramas made their darkest qualities so plainly visible as Dollhouse did in this episode, they would be be cancelled. Only the show's lack of popularity can explain why Fox was allowed to air this, one of the most horrifying hours of television I have ever seen. For, as sick as the premise is, the unmitigated moral ambiguity of its conclusion is what leaves the deepest mark. When Topher (Fran Kranz), the Dollhouse's typically amoral scientist, discovers Sierra's true origins, Nolan is exposed. Nolan demands exclusive use of Sierra by threatening to use his power to destroy the Dollhouse. Topher is forced to comply. Instead of giving Nolan his version of Priya, however, he secretly imprints her with her original personality. He explains the situation to her and, powerless to help any further, gives her to Nolan.

It is not long before Nolan realizes that Priya is not as compliant as she should be. With this realization, he attempts to rape her. She fights back and kills him. Topher, still concerned for her, finds her in shock next to Nolan's body. In order to save both Priya and himself from punishment, he is forced to dispose of Nolan's body by cutting it into pieces. The experience leaves Topher emotionally decimated. The moment when he is forced to wipe the mind of Priya – a person for whom he has come to deeply care – is perhaps even more painful. This character once embodied the gleefully amoral scientific progress that defines the Dollhouse. With the conclusion of this episode, however, he had borne all of the pain and horror that his work could cause.

It is tough to hate a show that can be this good.

Soon after "Belonging" aired, the Dollhouse cast and crew must have learned that the show would not be back for a third season. This is evident in the marked change of pace that occurs after this episode. Suddenly, what seemed like seasons worth of plot was being poured into a few episodes.

Rarely do viewers get to experience the work of a group of talented writers who are holding nothing back. This led to a run of several good episodes, a few of which rank among the best of the series. The world of Dollhouse was deepened. The characters were developed further. The plot moved with the sort of self-assurance that only a show with its end in sight can. Even some of the vagaries and weak spots from earlier in the series were revisited and improved. It was apparent that Dollhouse was set for a fantastic finale... until "The Hollow Men" came along.

This, the penultimate episode, was a veritable mess. A huge twist that suddenly cast Boyd (Harry Lennix), a beloved hero of the Dollhouse universe, as the chief villain of the series backfired in countless ways. Nothing in his newly-revealed, evil plot explained away 24 episodes of unwavering heroism, and the purpose of that evil plot was never coherently explained. Furthermore, the episode threatened to sully what brilliance came before it. The revelation about Boyd not only provided a wildly unsatisfying end for a consistently enigmatic character, but it cast a shadow over all of his previous actions; the severe damage done to Boyd was retroactive. Also, the idea that a show as morally complex as Dollhouse could boil the solution to all of its plot threads down to killing one villain and destroying one computer mainframe was downright laughable.

"The Hollow Men" was clearly a casualty of dwindling budgets and quickly approaching deadlines. Most of the episode had the usually-excellent cast running around a series of generic hallways, barely able to hide their confusion as they performed scenes that had little consistency with the nuanced characters they had worked so hard to build. This was a letdown of the high order of Neon Genesis Evangelion's finale. While the episode was thankfully not Dollhouse's last, the bad taste it left will remain a reminder of how the show was inconsistent to the very end.

The series finale was far more satisfying. While it did create a few plotholes for the sake of bringing characters together, it remained true to the theme, tone and characters of Dollhouse; under the circumstances, it was the best farewell for which fans could have asked.

There is much for which fans of Dollhouse can be thankful. That the series got a second season, much less a chance to provide closure is something of a miracle. Fox was downright charitable in letting the series continue as long as it did. The Second Season had a number of truly fantastic episodes that easily overcame the few bombs. Nevertheless, being a fan of Dollhouse was an abusive experience. Dollhouse may have improved over its mediocre first episodes, but it never gained stability. When it was good, it thrilled like no other show could, but that rendered its disappointments all the more painful. That is why perhaps the greatest thing for which fans should be thankful is that the show has finally come to an end. In the afterlife of DVD, those disappointments can be omitted with the press of a button.

Late for Treatment: A Newcomer to "Dollhouse"

Note that this write-up contains spoilers for the season premiere of Dollhouse.

A few weeks ago, Mr. Hollis-Lima talked about his admiration for Joss Whedon's Dollhouse. Despite all the praise it received from people I'm inclined to trust, I never got around to really watching the show – I saw my friends and roommates viewing it and once I even watched three-quarters of an episode. Still, I could hardly count myself as a regular viewer. As I'd heard the season two opener was a good jumping-on point, I decided I'd watch it and blog a newcomer's reaction. As I can't wipe my memories of my scanty prior experiences of Dollhouse, I won't claim that I went into the show "cold." Even so, I think my experience with the season premiere is representative of the average newcomer's.

Not only does "Vows" quickly introduce the show's concepts – Dolls, mindwiping, handlers, programmers, etc. – quickly, it's also cuts straight to the seedy, unpleasant, and even horrific aspects of the Dollhouse. Yes, the Dollhouse building has a pleasant, slick warmth to it. Yes, there's pretty people and pop music. And yes, there's a lot of humor. But Whedon never lets us forget that his tale is, at heart, existential horror. One of the few Season One episodes I watched anything of had a fairy tale motif. If Dollhouse is a fairy tale, it's not Disney but unedited Grimm. For what it's worth, it appears that next week's episode, "Instinct," will be more explicitly creepy: Echo going to violent lengths to protect "her" baby.

This particular episode focuses on "erstwhile agent" Ballard's (Tamoh Penikett) attempt to use Echo (Eliza Dushku) to entrap an arms dealer. The honey trap is an old staple of espionage and thriller fiction, but it gains fresh perversity when the "honey" isn't entirely willing. Ballard may have the best intentions – stopping criminals from bringing dirty bombs into the country is a Good Thing – but can it really justify sci-fi rape/prostitution? Somehow one doubts that it can. The setup works very well for a season premiere and potential introduction to the series, allowing as it does for sex, violence, and intriguing flashbacks. Discussions on the natures of consciousness and identity are all well and good, but karate and gunplay and Eliza Dushku not wearing much all help bring the show the viewers it desperately needs.

In his earlier post on Dollhouse, Matt said he found the events at the Dollhouse generally more interesting than the Dolls' "engagements." Based off this single episode, I have to say I agree. The arms dealer plot seemed like a retread of dozens of other stories, even with the "topical" element of the dirty bombs and the creepy exploitation of Echo. I was much more interested in the plot back "home," especially as regards Whiskey, the Dollhouse's resident doctor – and a Doll who knows what she is. Watching her breakdown and reconstruct herself was by far the most interesting aspect of the episode. I hope that further episodes explore the character, though it looks as if Whiskey won't be a regular on the show – Amy Acker is listed as a guest star at the beginning of the show. Oh well.

"Vows" ends with Echo telling Ballard something very interesting, though I suppose the real source of the revelation could be the powers behind the Dollhouse toying with Ballard, trying to make him reveal his true intentions. The central conceits of Dollhouse seem to call for paranoid plot speculation – I know that many fans have some pretty wild theories about the overall plot arc. In addition to the big reveal at the end, this episode introduces what could be a major Season Two storyline. We see a senator speak about his devotion to health care (Topicality!) and his belief that the (Dollhouse parent company) Rossum Corporation has withheld major medical advances. The head of Dollhouse security, Boyd (Harry Lennix), says that "He wasn't on our radar" and must have learned about Rossum very recently. It seems there is a mole under the Dollhouse.

One of the things that most impressed me about "Vows" was its character "portraiture." The Doll programmer Topher (Fran Kranz) gets called a "sociopath" early in the episode, but later demonstrates scruples one wouldn't expect to see in so toxic an environment as the Dollhouse. Ballard has good intentions, but Whedon suggests they've put him on the road to hell. Everyone at the Dollhouse seems to have a character – the most unconvincing characters, ironically enough, are the people from the outside world. We can believe in Echo, Topher, Ballard, et al. far more than we can buy the gullible arms dealer who finds high explosives so "beautiful."

As much as I liked watching Dollhouse, I did have several issues with it. For one thing, it was unclear how much time the episode covered. As Echo marries the arms dealer at the beginning of the episode, I take it she has been playing seductress for months now? Are we supposed to assume she never got access to his house and the secrets within before her wedding night? It's all a bit awkward, and for once I would have appreciated a little more setup and exposition. I won't say that the finale action scene was tacked-on per se, but it did feel a little underwhelming. I would have liked to see a little more of the "clean up" as well – the newspapers evidently report "an arms deal gone wrong," but, since most of the criminals survive, one would think their testimony would draw attention to the Dollhouse. The FBI, for example, would be interested to know that a former agent helped bring down the "untouchable" crime boss. I guess there are some things you just can't expect from a one-hour show.

I don't deign to watch much television – perhaps it's a character flaw. But I think I've just added another show to my personal schedule. Hell, I may even have to order that Season One Blu-Ray. Matt tells me there are other episodes far better than the one I just watched. I look forward to seeing them.

Now, a response from Mr. Hollis-Lima:

Matt has already spoken of my love for this show. I have to admit, however, that I found this episode rather frustrating. The ideas in "Vows" were as fascinating as ever, but the episode's structure was straight out of the show's uneasy infancy. It often veered into murkiness, rendering many of its ideas difficult to digest. This makes the episode a far cry from wonderful First Season highlights like "Needs" and "Briar Rose."

As for accessibility, "Vows" may suit perceptive viewers like Mr. Keeley well enough, but I fear that a number of convolutions sent Joe Nielsen Box running for the "Law & Order" repeats last night. Now, I assure you, I am no proponent of lowest common denominator TV; some aspects of this episode were simply muddled.

Echo's assignment is easily the biggest perpetrator here. Ironically, I would say that this plotline suffered from being overdeveloped; it got too much screen time. Veteran viewers will tell you that engagements slipped further and further into the background as the First Season progressed. This was a good thing, as it allowed them to play an ancillary role in the series' main plotlines. In "Vows," however, details like Echo's wedding of the arms dealer and prowling business associates just raised too many unimportant questions. This plotline should have been stripped down considerably – the whole episode would have benefited from it.

Thankfully, once the arms dealer finally gets his punch to the face, the episode's last act is left with plenty of breathing room. Major plotlines for this season are set up here, and they all look very promising. Whiskey's games with Topher are as juicy as they're cracked up to be and I cannot wait for more. Now that the obligatory moral floundering is past, I am happy to see Ballard resigning to his role as Echo's handler. There's a hell of a lot of trouble that is waiting to crash down on DeWitt's head, too.

There are many questions that need to be answered, but I know this show well enough to expect an answer to all of them in coming episodes (if they have not already been slipped in under some character's breath). This is, after all, a show that almost requires multiple viewings of each episode; many things only make sense on the second pass. I would say that this is more of a complement than it is a criticism, but one wonders if enough viewers agree to keep the show afloat. If the writers can work their way back up to last season's highs, I am optimistic.

Are You Ready for Your Treatment?

The Dollhouse offers a service. For a certain amount of money, you can have the exact person you want – the exact person you need – instantly. Do not think of it as a fantasy, however, because a doll does not act; a doll is a genuine, complete human being, designed to your specifications, temporarily at your service.

That is the sales pitch, anyway.

What goes on behind the scenes, in order to make all of this possible, is what concerns "Dollhouse," the Fox TV series that premiered this past February. The dolls are, indeed, real people. They are people who, for one reason or another, wanted to disappear. In return for guarantees of no long-term harm, no memories of it all and a large sum of cash, they give up their bodies for a period of five years. During this time, they reside in the Dollhouse, awaiting assignments, or "engagements," in a blissful state of submission – the tabula rasa, if you will. When called up, a doll is imbued with a personality (usually a composite of real personalities, designed to suit the needs of the assignment) and sent out under the surveillance of his or her handler.

You may find the concept of the Dollhouse to be disturbing, fascinating or, even, both. Its moral and ethical implications are vast and complex. Thankfully, the minds behind "Dollhouse," led by "Buffy" creator, Joss Whedon, are up to the task of exploring these complexities while keeping the show exciting and engrossing. This is simply some of the best writing on TV right now (and it happens to be aided by an excellent cast and strong crew).

This is largely due to scripts that consistently raise the show's premise to new heights. The series' first few chapters are largely episodic, focusing on one engagement per episode, as performed by a doll named Echo (Eliza Dushku). Over the course of these few episodes, however, some central concepts are introduced: Echo is growing in ways the Dollhouse did not intend (namely, she is retaining information, even after the compulsory post-engagement wipe); the technology is not as solid as the Dollhouse's staff would like to think.

These early episodes also display the diversity of jobs the dolls must do, ranging from romantic encounters to hostage negotiations to backup singing. Through all of these encounters, we discover the wide range of perspectives clients have on the service they use and the vast potential for danger that it brings. As the show develops, however, it becomes less concerned with external workings of the Dollhouse and concentrates on the dolls and those working there. Here is where the show begins to flourish.

It is precisely because "Dollhouse" is so concerned with the human cost of the technology that it succeeds. Each character is actively struggling with their role in the use of a technology that could very well prove to be apocalyptic but, for now, is used for a vaguely consenting form of slavery. Accordingly, they each have their own doubts, motivations and ethics. Echo's handler, Boyd Langton (Harry Lennix) believes the Dollhouse is abhorrent, but he has a genuine concern for Echo that is, at once, moving and confounding, as she has no consistent persona with which he can develop a relationship. Adelle DeWitt (Olivia Williams) is in charge of the Dollhouse. She views everything as a business transaction – something that proves to be a surprising source of compassion, as she insists on treating the dolls well, as per their contracts. Topher Brink (Fran Kranz), the smug scientist who is solely responsible for the Dollhouse's vital technological component, sees himself as a philanthropist.

There are nearly a dozen other characters in "Dollhouse" that have equally valid justifications for why the hate, love or simply tolerate the Dollhouse. Not the least of these characters are the dolls themselves, who slowly grow over the course of the season, proving that there is no such thing as a blank slate. You see, after thirteen episodes, Whedon and his writers have proven that they intend to leave no stone unturned in this valley of potential ideas. This is a rare case where calling a show "high concept" is praise of the highest order. Never resorting to convolution for the sake of itself, this story unfolds like a blooming flower, revealing a new world of potential with every episode.

It is likely that you have not heard much about "Dollhouse." The ignorance of television critics, the ineptitude of Fox's management and a vocal crowd of internet detractors have all conspired to make sure that this show is rarely evaluated on its own merits – if ever evaluated at all. Push your way past the din, however, and you will find that "Dollhouse" is network television's best kept secret.

The show's second season premieres on Fox at nine on Friday, September 25th. This allows more than enough time to get caught up on the series, available on DVD, Blu-Ray and digital download. The first season's final five episodes are also available on Hulu for free, providing a decent jumping-on point. Otherwise, Joss Whedon assures viewers that the second season premiere will be accessible to new viewers.