Dollhouse cancelled! Sad, but not terribly shocking...

The bad news, which the small yet devoted Dollhouse fanbase has been trying to stave off since the show's inauspicious premiere in February, has finally arrived. FOX officially announced this week that Joss Whedon's television allegory about identity and exploitation will be cancelled after the remaining nine episodes air. This was a huge disappointment for me (I've really enjoyed watching and writing about this show, and I feel like there's so much about the characters and story yet to be explored), but I cannot say that it was wholly unexpected. Whether due to it's undesirable Friday night timeslot, or to its overly complex and unwieldy plot structure, or to a combination of the two, the show never managed to build up a large enough live audience to keep it going. I was grateful and optimistic when Dollhouse was picked up for a second season last spring, but seeing as how the show remained in it's Friday night spot, continued to draw depressing ratings, and got swept out of the November sweeps, I wasn't terribly surprised to hear the news. Still, it's hard to face the finality of the cancellation after stubbornly holding out hope for the better part of the year that things would turn around, and that the show might yet have a bright future. It must suck even more for the actors and production team.

And speaking of those actors, let me just say how much I dearly hope Enver Gjokaj finds a new project soon. It's not just that I have such a crush on him. I also think he's an amazing actor, and really deserves more recognition. I also wouldn't mind seeing Dichen Lachmen again on either the big or small screen.

If there's a silver lining here, it's that the remaining nine episodes will air throughout December and January, and that advanced notice of the cancellation will at least allow Joss & co. to prepare for the end. What that means is that fans will most likely be given a degree of closure which wouldn't be possible if the show had been cancelled in a more brutal fashion (as in kind of like, oh I dunno, the last show Whedon created for this network. At least Dollhouse won't go the way of Firefly. Although, if it meant we'd get a feature film several years later it might be worth it.)

So there's nothing much for fans to do except reconcile themselves to the harsh reality, and to console themselves as best they can with the remaining nine episodes of season two. On the other hand, if finishing DH means Whedon can actually get to work on the Dr. Horrible sequel he's been promising for, like, ever - well, that wouldn't be a completely terrible thing either.

Memorable TV opening themes

Ok, this is kind of random, but I was just thinking today about how much I love the opening sequences of television shows. On the one hand, if it’s a show you really love, it doesn’t even matter how good the opening is, you still react to it like Pavlov’s dog to a bell; the very first notes of the theme song cue that instant rush of excitement and anticipation as you await the imminent commencement of another episode. On the other hand, there’s a lot to be said for opening sequences that are creative and exciting in and of themselves, even if the show itself doesn’t really do much for you. Yet if one of your favorite shows has a killer opener, one that is dynamic and interesting and perfectly captures the unique tone of a unique show – the effect is amazing. It’s an art form, really.

And so here are some of my favorite television opening sequences, in descending chronological order (i.e. in reverse order of when the shows premiered with their openers).

True Blood (2008). It’s gritty, it’s grotesque, it’s bizarre, it’s strangely fascinating. Just like the show itself, in fact. None of the main actors appear in this opening, but the images used perfectly convey the show’s tone and its stylized northern Louisiana setting. And the song is just perfect! I usually cannot stand country music at all, but I actually had Jace Everett’s “Bad Things” as my cell phone ring for like six months. I can’t really describe the effect of the True Blood opening; it speaks for itself.


Conspiracy in the Court (2007). Ok, this comes from a kdrama, not an American show. But I had to include it because I really thought it did a wonderful job of introducing this fusion sageuk political thriller drama. Conspiracy in the Court stands apart from other dramas in a lot of ways – it really sets out to achieve something different (hence the fusion aspect), and does so extremely well – and this opening really reflects that. When you consider also that most kdramas have pretty lame, generic openings if they have them at all, this sequence becomes all the more remarkable. Observe:


Dexter (2006). Honestly, I never really got into this show. I admire it, I think it’s very cool, I just never got hooked on it enough to make the time to watch it. But the opening is just so amazing. It was expertly shot and edited so as to make an ordinary, tame morning routine appear violent and savage. Thanks to this sequence, I will never look at breakfast in quite the same way again.


Veronica Mars (2006). I say 2006 even though the show premiered in 2004 because they revamped the opening sequence for the third (and, unfortunately, final) season. For the first two seasons the VM opening was pretty average. I liked the song (“We Used to Be Friends” by the Dandy Warhols), but other than that the sequence was pretty unremarkable. For the third season they reworked the song, making it more subdued and stylized, and set it to a series of sepia-toned stills. All in all, I think the new version was much more interesting, and a much better representation of the series. Veronica Mars was, at its core, a noir-influenced detective show set in southern California and featuring a petite blonde heroine. The new opening reflected that.


Cowboy Bebop (1998). I think I’ll just let this one speak for itself. You don’t need to know anything about the show in order to watch this opening and think its just plain awesome. The brass music, the bright solid colors, the animation…


The X-Files (1993). My parents were both diehard fans of this show in the 90s, and they let me watch with them on Sunday nights even though I was probably too young. Even to this day the eerie whistling music gives me the shivers. I remember waiting anxiously each week to see what message would appear at the very end, whether the typical “The truth is out there” or that once in a blue moon substitution. Exciting times indeed. (Sorry about the quality.)


Cheers (1982). Oh, this makes me miss Boston so much! This is just another example of an opening in which all the elements work. The lyrics of the song, combined with the slideshow of images, evoke a powerful nostalgia in me – for Boston, my former home, for the show and all its incomparable characters, for the time when I used to watch it with my family. This was a great show. So simple, so fantastic, so hilarious. It really does make me think about going home, and the theme song hits a very special place in my heart. And now I think I might cry. But it’s a good, happy kind of feeling. That’s how powerful a good tv opening, with strong personal associations, can be.


So although I’m sure there are many more great television openings out there, these were just a few of my favorites. A good opening sequence can be a very powerful thing. May this special art form continue to flourish for many years to come!

Dollhouse 2.05, "Belonging"

Oh my dear sweet goodness gracious, it is such a shame that hardly anybody is watching this show anymore, because last week’s episode totally killed!!!. It was intense, the acting was amazing, the dialogue was sickeningly provocative, and (best of all) it was coherent! I feel like “Belonging” finally succeeded in what this show has been trying to do all along, and has only been dancing around achieving. As a sci-fi allegory, Dollhouse has set itself up as a show that explores issues of exploitation and consent. Yet on multiple occasions the show has fallen on just the wrong side of the fence, with its treatment of these ideas coming off as gimmicky rather than serious. This episode, however, hit the nail dead on the center of the head; I’m still reeling from how awesome it was.

This episode explores the details of how Sierra came to be in the Dollhouse, and it is not a pretty story. Unlike the other dolls, she did not volunteer for this "service." She was originally a free-spirited artist named Priya who became the obsession of a Rossum bigwig named Nolan. Nolan tries everything he could to win her over: money, luxury, gallery showings for her paintings, the works. When she makes it very clear she’s having none of it, the guy shows his true colors. We don’t actually see this next part, but we later learn that he kidnapped her and drugged into a state of paranoid schizophrenia, then used his Rossum connections to get her admitted into the Dollhouse. Once she’s become a doll not only can he have her, but he can have her in any way he wants. He can make her say she loves him and mean it. It’s the ultimate form of abusive fantasy-fullfilment, and it’s sick, sick, sick.

When the situation is finally brought to the attention of the DH staff (by an increasingly cognizant Echo, no less), Nolan and the other higher-ups exert pressure on Adelle to imprint Sierra and hand her over to him permanently. She caves, and tells Topher to do it. Feeling repulsed and guilt-ridden at the role he played in turning Sierra into a doll in the first place, Topher rebels and imprints Sierra with Priya, the original, and sicks her on an unsuspecting Nolan. What follows is a harrowing chain of events that has irrevocable consequences and far-reaching implications for Topher, Sierra, Adelle, and everyone in the Dollhouse.

This episode marked somewhat of a turning point for Adelle. Up till now she’s always staunchly defended the “purity” of the engagements, and of the Dollhouse’s mission, to the moral dissenters like Paul and Caroline. (Remember her words to Caroline in the pilot? “What we do here helps people.”) She’s always been able to rationalize and justify the work she does, to herself and to everyone else, but in this episode she just can’t, and it’s a real blow to her. This was satisfying for me because I’ve been bothered for a while by Adelle’s pseudo-morality. She’s shown an increasing level of genuine concern for her actives' welfare, and has come to see herself as their guardian and protector. Yet this conflicts with the very nature of what she’s doing with them. When she first learns what Nolan did to Sierra, she’s livid (I would no sooner allow you near one of our other Actives than I would a mad dog near a child… Given that you're a raping scumbag one tick shy of a murderer.) And yet, as her sinister, amoral boss points out to her, Nolan isn’t really behaving differently from their other clients. Boss-man’s words to her are chilling in their ugly truthfulness:

Adelle: If we do this, what does that make us?
Boss-man: [raising his eyebrows] What are we already? … If the feeling that you’re somehow decent and moral helps you get through your day, [shrugs] that’s your business. This house, however, is our business.

She can’t keep hedging any longer; confronted with the true implications of her work and feeling the pressure from above, Adelle makes the despicable choice... Which leads to another intense scene in which she tells Topher to carry out the order to imprint Sierra permanently for Nolan.

Topher: [dazed, unbelieving] How can you expect me to do this?
Adelle: [Quietly] You’ll do it because you must. The cold reality is that everyone here was chosen because their morals had been compromised in some way. Everyone [walking towards him] except you. You, Topher, were chosen [putting her hand to his face, gently] because you have no morals. You have always thought of people as your playthings. This is not a judgment. You always take good care of your toys. But you’re simply going to have to let this one go.

Ouch! Man, that hurts. Adelle’s recent disillusionment with her own identity has left her cold and brutal and bitter. But do you see what I mean about this episode’s dialogue? During both of these exchanges, as well as the rest of the episode, I was glued to the screen: fascinated, horrified, almost unbelieving.

In addition to Adelle and Topher, both Sierra and Victor really got to shine in this episode. I’ve already gushed enough about the incredible acting (and adorableness!) of Enver Gjokaj, but Dichen Lachman is also very good. It also doesn’t hurt that she’s got a beautiful, unique look. I love that no matter what situation these characters are in, no matter what personalities they’re imprinted with, these two people always find themselves inevitably drawn to one another. It may sound cheesy and trite, but it really isn’t. Their innocence and sweetness actually provides a brilliant contrast to the darker, grittier, more cynical and sinister elements of the Dollhouse world. With the odds so hopelessly stacked against them, and with so many forces constantly driving them apart (mentally as well as physically), they still manage to find tiny, yet momentous ways to connect with each other. It really is very touching.

In other news, Dollhouse is going on hiatus until December 4th, at which time Fox will air the next six episodes in three weeks. Although the network has officially committed to airing all thirteen produced episodes of season two, the future for the show beyond that point is looking grim indeed. Yet if the show can maintain the intensity, focus, and all-around awesomeness of “Belonging” for the rest of its run, however long that may be, I guess I can’t really ask for more.

Dollhouse: season two opens with inauspicious ratings

But, hey, what else is new for this show, huh? It’s still hanging on, if only just by a thread; after its seemingly miraculous renewal in the face of dismal ratings last spring, Dollhouse has returned to the Friday-night-graveyard of primetime where its return has been heralded once again by down-right depressing numbers. This post will cover the first three episodes of season two in one go, partly because I’ve been backlogged and haven’t gotten around to them until now, and partly because episode three rocked just a little bit more than the first two. So, yeah, I’m still enjoying this show because it’s grappling with some very heavy, far-out material (albeit often in an awkward, rough and ready kind of way.)

2.01 “Vows” In this episode, former agent Ballard (I think I’ll just call him Paul from now on) tests out his new, shaky alliance with Adelle & co. by arranging for Echo to be imprinted as an undercover agent programmed to help solve a case he himself never resolved with the FBI. So she goes undercover and actually marries this international arms dealer. Things start out well but soon go south, of course, and Paul is forced to improvise, actually using Echo’s rather unique “personality disorder” to solve the case in a rather unorthodox way. At the end of the day, when the bad guy’s all arrested and everything, Paul gets to be made Echo’s official handler, at which point the un-imprinted Echo asks him if he’ll help her find Caroline. Meanwhile, Dr Saunders struggles with the recent discovery that she herself was once an active, and that her entire personality and life as Saunders are just a construction of Topher’s, the guy she already hates (by design, it would seem.) She responds at first by finding cruel and petty ways to torment and freak him out, which culminates in this great confrontational scene between the two of them. I found it really interesting that she doesn’t seem to want to reclaim her original identity; she’s too afraid of relinquishing the reality she knows isn’t really real. To her, that would be like dying, and it scares her. Perhaps even more interesting is what Topher finally tells her: that he programmed her to question him, yes, because he thought it was necessary and prudent, but he never programmed her to hate him. She chose to. As much as I like the usual, smarmy Topher, it was really great to see this unnerved, vulnerable side of him.

2.02 “Instinct” Echo gets imprinted as the mother of a baby whose real mother died giving birth. (The father, too grief-stricken to love the baby himself, had turned to the Dollhouse to provide the infant with someone who could give it everything he needed.) When the father gets cold feet and tries to call off the engagement, we everybody learns the hard way that maternal instinct isn’t so easy for Topher to wipe away. Side note: a lot of people think that Eliza Dushku’s the weak link in the cast, and that she doesn’t have the versatility to play Echo. Well, I don’t know about that, but I must admit that she did a great job portraying the panic and terror of a mother losing her child. It was really quite affecting, I thought. Meanwhile, Madeline (the former active known as November) pays a visit to the Dollhouse for her post-release check-up, which is really just a way for Adelle to keep tabs on her. In the process, she runs into Paul, whom she of course doesn’t recognize, and also witnesses one of Echo’s more, er, colorful treatments. She remains blissfully unaware of the painful history she once shared with both of them, a seeming testament to the success of Dollhouse technology. Overall, this wasn’t a particularly strong episode, but it definitely had its moments. Even in her new incarnation of Madeline, Miracle Laurie is still a joy to watch.

2.03 “Belle Chose” Now, I really liked this episode a lot. It featured two separate, seemingly unrelated engagements that ended up converging in a hideous and hilarious way. The first is your basic fantasy fulfillment engagement, with Echo being turned into a bimb-tastic sorority girl named Kiki at the request of a creepy old lit professor. The second one involves a Rossum bigwig calling in a favor with Adelle, and she imprints Victor with the guy’s serial-killer nephew in an effort to locate his victims. When Boyd pulls Paul off of Echo’s engagement to use his FBI profiling on serial-killer-Victor, his reaction is hilarious; completely unnerved by “Kiki”, he says in a dazed kind of voice, “A serial killer? Thank god!” Unfortunately, the real killer’s uncle springs the killer-imprinted Victor from the DH and inadvertently lets him loose on society. Desperate to control the situation, Adelle forces Topher to attempt a tricky remote wipe of Victor that ends up short-circuiting the entire active grid. In all the confusion, Echo’s and Victor’s imprints get crossed: she becomes the insane killer hell-bent on finishing what he started and poor Victor becomes the flighty party-girl, shaking his thang all over an LA club. The results are both frightening (in Echo’s case) and hilarious (in Victor’s). This episode really showcased Enver Gjokaj’s many talents as an actor. I’ve said it before, and I’ll say it again, but I really like this guy. I think he’s the best of all the dolls at really embodying each new character he’s given in a totally believable way, even when it’s something as ridiculous as Kiki, or intense as the serial killer. Plus, he’s totally adorable! I hope we get to see much more of him in the future.

Overall, I think this show’s greatest strength is also its greatest weakness: it’s complex to the point of being unwieldy. It’ll never be mainstream or popular, because it’s really not for the casual viewer. Its greatest hope for survival is to garner enough of a fringe, cult following to buoy it up. Well, here’s hoping!

Oh, and I also thought I'd post the link to this video recap of season one, which is a little long but does an excellent job of bringing together the most compelling elements of the first season and setting us up for furutre developments.

TV pairings: an evolutionary study

I realize that the title of this post might seem a little heavy-worded, but I really couldn’t really think of a good way to summarize this topic. Hopefully my meaning will become clear once I explain it a bit more. I got the idea to write this post last month, when some of the fall primetime premiers prompted me to reflect on one of the things I love most about the open-ended, multi-season format of US television: the evolution of TV relationships. By that I mean the inherent possibility of the medium to slow development of relationships over long periods of time, allowing viewers to watch them change drastically from what they originally were and grow slowly towards what they will become. This cannot be achieved in the same way in other media such as movies, dramas, or miniseries, which are more limited in scope. Of course these kinds of developments are a long time in the making, and aren’t usually the main focus of a given show on an episode-to-episode basis, but sometimes the emotional payoff is just that much greater in the end. Yet whenever shows alter the relationships between main characters they the risk of changing the characters themselves too drastically, which is never a good thing. You don’t want to see a beloved character going against the grain for no good reason. And yet it can be such fun to watch them cope with the awkward, uncomfortable realization that they’re seeing things (and people) in a new and different light. It’s a high-stakes game that sometimes backfires on writers, and sometimes makes for the most interesting and enjoyable television out there. If this isn’t making any sense yet, please bear with me, and hopefully it will.

You may have noticed that the title of this post reads “TV pairings” and not “TV relationships in general” and that’s because I’m going to focus on the romantic ones. More specifically, I’d really like to talk about something I refer to as "evolved pairings", which I define as TV pairings that occur some time relatively late in a series between two central characters who were not previously romantically linked. That might sound kind of specific, but it’s actually a relatively common trend. Yet I’m not just talking about couples with lots of romantic vibes who somehow manage to keep delaying the inevitable (à la Luke and Lorelai); I'm talking about the ones that somehow come together after having a decidedly un-romantic relationship for a long time. So if we were to take Friends as an as an example, Monica and Chandler would be an evolved pairing whereas Ross and Rachel would not. While Ross and Rachel were highly anticipated right from the series' pilot, Monica and Chandler would have been impossible for season one viewers to predict. When relationships start changing in a series, as Monica's and Chandler's did in season 5 of Friends, it can be a lot of fun for long-time viewers who know all their history. And so this was a really long intro for my topic, but today I'd like to talk about some "evolved pairings" that I've really gotten on board with in the past.

Buffy & Spike (Buffy the Vampire Slayer): The first example on my list of awesome evolved pairings is a little on the old side, relatively speaking (the show’s been off air for over six years), but it’s a classic example and one of my favorites. Spike was introduced as a major villain to Buffy’s hero in season 2, but he would eventually become something much less easily defined; he was extremely popular with fans and became first a recurring character in seasons 3-4 and then a leading role in seasons 5-7. Over the years, Spike was slowly given tons of backstory and meaty development, and I still consider him to be the most complex and compelling character in Buffyverse. He’s in turns hilarious, sympathetic, and downright pathetic. In one of the most famously quotable shows of all time, Spike often had the best lines. One of his most well-known utterances is this: “Love isn’t brains, children. It’s blood… I may be love’s bitch, but at least I’m man enough to admit it.” (Ha! He’s not even talking about Buffy in this one, but it’s still great, no?) Of the two, Spike is definitely the first to develop romantic feelings for Buffy, slowly (and painfully) falling for her over the course of season 5, and it’s quite a long time before she sees him as anything but a monster. When I say that the Buffy/Spike pairing works, I don’t mean that they have a happy ending, because they don’t. I just mean that they had great chemistry, and that for a couple that started out on opposite sides of nearly everything they had a relationship that people really cared about and wanted to see happen. Yes, it was painful at times, and yes it went some really weird places (season 6, anyone?), but ultimately it was one of the things that made the show so popular. It’s amazing to think about where they started out in season 2, and where they ended up five years later in the series finale, and the epic journey that happend in between.

Barney & Robin (How I Met Your Mother): This example is a bit more contemporary than the first, as the show is still airing, and one of it’s hottest topics right now is the couple in question. Robin is first introduced to the show as the primary love interest for main character Ted in seasons 1 and 2 (although it’s revealed in the pilot that she is not the titular “Mother” of Ted’s future children, to whom future Ted narrates the entire series). Barney, meanwhile, is Ted’s eccentric and totally hilarious friend, who also happens to be a shameless womanizer. Although Barney is primarily played for laughs (Neil Patrick Harris is a hoot), what really makes him interesting are his rare flashes of real sensitivity. This includes the way he deeply and very genuinely cares about his friends, for example, and of course his feelings for Robin. After their spontaneous, "one-time-only" hookup in season 3, it was tremendous fun to watch the skirt-chasing Barney struggle to accept that there’s a girl 1) whom he actually wants to sleep with a second time, 2) whom he doesn’t like to see with other guys, 3) who is also one of his closest friends, and 4) not to mention, their mutual friend’s ex. Poor guy! For her part, Robin's also kind of a one-in-a million character: a "sophisticated, scotch-swilling, cigar-smoking, red-meat-eating, gun-toting New Yorker” who's also very loveable, and Canadian. We're supposed to believe that in a bizarre way, they're actually kind of perfect for each other. Does it work? I actually think this one's a bit of a stretch, but I'm willing to go along with it becase it's just so much fun and I adore this show. (Btw, this recap clip does a much better job of summing up their relationship than I did.)

Logan & Veronica (Veronica Mars): Man, this was such a great show. And one of the great things about it (but certainly not the only great thing) was all the Logan/Veronica LoVe that happened. She's the petite, blonde, tough-as-nails, hardboiled teen detective with all the quippy one-liners. He's the spoiled, rich bully with an abusive past and deep-rooted insecurities. Their relationship - is complicated. You can read a 5,000-word summary of it on wikipedia. All I'm going to say here is that in spite of Veronica introducing him to us as her school's "obligatory psychotic jackass" in the pilot voice-over, they actually turned out to share a very intense, and often quite sad, but totally awesome relationship. Now that's what I call relationship evolution.

Blair & Chuck (Gossip Girl): I actually almost didn't include this one since they first hooked up kind of early on (half-way through season one). Yet if you just look at the show within the context of that first season, it works. They didn’t officially get together until much later, and, more importantly, their pairing caught me completely off guard, and then really swept me up in its intensity and general epic-ness. Considering these two weren’t even on each other’s radar at first, I’d say they’ve earned their spot on this list. Blair is the quintessential Upper East Side princess (rich, controlling, self-centered), but with her own share of insecurities and a fighting spirit it’s hard not to admire. It’s not until her perfect little world starts to crumble that she first turns to Chuck for comfort. She and Chuck have always known each other (the UES set is an small and exclusive one), but he was definitely not part of her plan. He’s kind of a wonanizer, and just about the only person on earth who’s as manipulative as she is. Unsurprisingly, their first fling ends rather messily, but that doesn’t mean the feelings weren’t real. Quite the contrary, especially on his part. I really liked their storyline back in those days. They’re both interesting characters, and it was really fun to watch them together; they had this great rapport, and even when they were being truly horrible to each other you knew that deep down they really cared. Unfortunately, I think that their storyline, like the show itself, has gotten a lot less exciting over the past season. These days, I’m mainly watching for the fashions.

Lois & Clark (Smallville): Okay, so Lois Lane and Clark Kent are one of the most iconic couples in the cannon. So what, you might ask, are they doing on a list of romantic relationships that develop from strictly unromantic ones? Because on Smallville, that’s exactly what happens. The show, as people generally know, tells the story of Superman’s youth, and is based very loosely on the Superboy Adventure Comics. When the character of Lois Lane was first introduced in season 4, her relationship with Clark was quite different from the one we all know and love from the Superman cannon. They shared a sort of grudging respect, but for the most part they just annoyed each other. It was almost like a brother-sister kind of vibe. And yet over the past five years they’ve been slowly but steadily growing closer in a way that’s been really great to watch. Smallville’s definitely a story with an endgame, but that certainly doesn’t mean there’s no dramatic suspense. The whole premise of Smallville is to show how things were before they got to be the way we know, and the show often does so in unexpected ways, especially with Lois and Clark. The development of their relationship has been, in my opinion, THE highlight of the series, especially recently. When I remember how little I cared for this show in its earlier seasons, it’s amazing how much I now anticipate each week’s episode. And I think the Lois/Clark relationship has a lot to do with that.

There are probably lots of other TV pairings that fall into this category, but these are the ones I thought of first and the ones to which I’ve paid the most attention recently. Besides, this post has gotten kind of long and I’m kind of burnt out.

True Blood 2.12 "Beyond Here Lies Nothin' "

The above picture shows the cameo appearance of Charlaine Harris, author of the Sookie Stackhouse novels, in the season two finale of "True Blood", the HBO show based on said novels. Since I've been watching this show pretty religiously all summer, I just wanted to put in my two cents about the season finale. I found this episode to be a rather lackluster conclusion to what was nevertheless a really great sophomore season. If the episode itself was a bit of a let down, it was probably due largely to the fact that my expectations were so high, and in any case there certainly were plenty of intriguing hints/cliffhangers to invest people (and me) in the wait for season three.

The first half of the episode focused on the conclusion of the Maryann conflict, and culminated in her final defeat at the hands of Bill, Sam, and Sookie. With Sam’s shapeshifting abilities, Sookie’s mysterious and unreliable supernatural powers, a deeper understanding of what a maenad really is, and a little bit of clever trickery, the three are able to finally defeat her and thereby save the good people of Bon Temps from themselves. I must say, I’m going to miss Maryann. Or rather, I’m going to miss Michelle Forbes, who always played her with wickedly irresistible charm and a brilliant touch of craziness. On the other hand, the time had come for her to die; her character was this season’s big “undefeatable” adversary, so at the end of the season she had to be defeated of course.

The second half of the episode shows the aftermath Maryann’s mayhem and also leads into several storylines for season three. Most of the residents of Bon Temps are in denial about what happened, while Jason and Andy congratulate themselves on being heroes (although they didn’t really do anything but get possessed themselves, but hey, A for effort boys!) The one person who really can’t handle the truth about what he did under the influence of Maryann is Eggs, who completely loses it and approaches Andy with the knife he used on Daphne and others. Jason witnesses the encounter, freaks out, and shoots Eggs in the back of the head before running off. I know, I didn’t see that one coming either. Meanwhile, Sam visits his adoptive parents, the queen warns Eric (quite forcefully) not to let Bill find out too much about the blood cartel, Hoyt seeks Jessica’s forgiveness while a hurt and angry Jessica seeks out victims, and Bill proposes to Sookie before being kidnapped by a mysterious attacker. Yup, this all happens in the second half of the episode.

I have to admit that this finale left me slightly underwhelmed. I definitely expected more to come of the Sophie-Anne storyline, especially since they decided to introduce the queen so much earlier in the story than she ever appears in the books. I also had a huge problem with Bill’s big, romantic proposal to Sookie, and with her readiness (after a moment of hesitation) to accept it. I’m really trying not to compare the show to the books too much, but this scene just felt very wrong to me. I have a hard time believing that Sookie would ever really entertain the idea of marriage to Bill, especially since their relationship has such a glaringly obvious expiration date (no matter how much they don’t want to admit it.) Still, I’m interested to see how this will play out next season, because I don’t think it will ever happen. As for Bill’s kidnapper, I have a pretty good idea of who it might be, especially because while the show strays quite far from the events and characterizations of the books each new season generally retains the main conflict of each successive novel.

Overall, I feel that season two was a huge improvement over season one. While I still think that the Bill/Sookie romance is pretty weak, the show has moved away from resting solely on that concept. It’s at its best, I feel, when exploring the politics of the different supernatural communities, and the extended universe of the different characters. And so, all things considered, I’m very excited for next season. I’m hoping, as always, for lots more Eric-Pam-Fangtasia action, and I also read somewhere that there will be Weres next time around, which is super exciting. It’s also a good thing I like Anna Paquin so much because she invariably makes the Bill/Sookie pairing interesting despite all the problems I have with it.

Summer Diversions

So, my summer has unfortunately turned out to be rather suckier than most, what with my recovery from surgery being much longer and more complicated than expected, not to mention my having had to move clean across the country and back again in the space of a single month. Still, I did manage to have a little fun here and there in spite of everything, especially in the celebration of my twentieth birthday (yay me!) Although I’ve been woefully negligent of this blog for the abysmally long period of two months, I decided to write a brief summary of all the entertainment I’ve consumed in the interim. That is to say, rather than writing full-length reviews of everything I’ve taken in over the past few weeks, I’ve compiled a list of concise mini-reviews here:

Books

Tess of the d'Urbervilles (Thomas Hardy). Ugh, I did not enjoy this book. My only previous experience with Hardy (reading The Mayor of Casterbridge for a high-school assignment) was likewise an unpleasant one, but I decided to read this on the recommendation of a person whose opinion I highly regard. Sadly, said person and I must agree to disagree on this one. I did appreciate Hardy's frank, non-didactic treatment of the subject of premarital sex, as well as his vivid portraits of the pastoral life of the farming class. Yet I disliked his characters too much to sympathize with their misfortunes, which they bring entirely on themselves. In this novel, as well as in The Mayor of Casterbridge, I found an unnatural and forced abundance of tragedy and melodrama.

Castle in the Air and House of Many Ways (Diana Wynne Jones). If I had to characterize these books with a single word, I would say "delightful." Not for nothing is Jones one of the most successful and respected writers of fantasy for adults and children on either side of the pond. I held off reading these two for quite a while because, although touted as sequels to Howl's Moving Castle (one of my favorite books EVER), this is only half true. Yet I should not have waited: these books may not be direct continuations of HMC, and they may feature Sophie, Howl, and Calcifer only peripherally, but they nevertheless retain all the originality, charm, and wit of that previous work. They are the sort of books that feature characters with whom one cannot help but fall in love, and about whom one cannot read without smiling continuously and laughing outright occasionally.

Teatime for the Traditionally Built (Alexander McCall Smith). The most recent installment in the very enjoyable "No. 1 Ladies' Detective Agency" series does not disappoint. These books are rather like the literary equivalent of comfort food: simple, wholesome, and emotionally charged. Each novel in the series serves up the same basic dish, but it is invariably delicious. I love the reliable comfort of these familiar characters, with all their quirks and foibles. This tenth book features, among other things, another fabulous episode in the hilariously epic rivalry between Mma Makutsi (my favorite character, btw) and the elegant yet evil Violet Sephotho. Niether the series in general nor this book in particular are particularly strong in terms of tight plotting, but what they lack in that quarter they somehow make up for in general awesomeness. It's just hard to go too wrong with a story about the first and only female detective agency in the bright and beautiful country of Botswana.

Pride and Prejudice and Zombies (Jane Austin and Seth Grahame-Smith). Yeah, that’s right: I read it. I figured the bizarre-0-factor alone would be worth the price of admission, and as an oddity of popular fiction it was pretty entertaining. Just take one look at the cover, and you’ll learn all you need to know about this unholy marriage of a regency romance and a gruesome gore-fest. Not everybody’s cup of tea, to be sure, but I personally was kind of excited about the idea. Still, the actual execution of said idea leaves a little to be desired. If you’re going to go as far as to transport Austen’s beloved characters into a zombie-infested alternate universe, you may as well play around with the story a bit. Grahame-Smith leaves the original story completely in tact, and just sprinkls in the zombie action here and there. Also, the discrepancy between his capabilities as a writer and those of Austen herself are as decidedly pronounced as that which exists between their choices in subject matter. P&P&Z contains just a few too many glaring grammatical errors and typos for a book written in the style of the early nineteenth century. Somebody needs to inform the author that those who truly wish to emulate Austen’s prose do not end their sentences with prepositions, nor do they split their infinitives. They just don’t.

Manga

The Melancholy of Haruhi Suzumiya, vol 3 (Nagaru Tanigawa). My feelings about this volume are pretty much consistent with my reactions to the previous two volumes: generally positive. I absolutely love the whole Haruhi franchise (here's why), but I must recommend the animated version over the manga adaptation as being the higher quality and generally better presentation of the story and characters. Still, volume three will continue to entertain those already hooked on Haruhi, especially since it features a really great sequence from the light novels that did not appear in the anime. Get your fix of ironic chaos and surreal mayhem in volume three of The Melencholy of Haruhi Suzumiya, in which Kyon and the gang deal with more wild ambitions and violent mood swings from their beautiful, fearless, and insane leader. Expect baseball, group shopping, and time travel.

Fushigi Yuugi, Volume 2 VIZBIG Edition (Yuu Watase). When I bought the previously released VIZBIG edition of this series, which contained volumes 1-3 of the series, I wrote a long-ish post about why I though Fushigi Yuugi withstands the test of time in spite of all its cliched storylines and dated artwork. This second VIZBIG installment, containing volumes 4-6, continues to entertain and to amuse. Additionally, volume four introduces my absolute favorite character in the series. I know Tamahome and Hotohori are considered the main heartthrobs of Fushigi Yuugi, but I'm a Tasuki girl all the way. Actually, now that I think about it, he may be tied with Nuriko for my no. 1 favorite FY character. They're both so side-splittingly hilarious, and yet endearing as well. Fushigi Yuugi has many flaws, but I still consider it to be a real gem of a series.

Bride of the Water God, volumes 2 & 3 (Yun Mi-Gyung). This manhwa is a stellar example of a series that doesn’t quite live up to all of its amazing potential. The artwork is strikingly gorgeous, the mythology is intriguing and complex, and the characters and premise are dramatic and interesting. Yet most of the time Bride of the Water God turns out to be more of a hot mess than anything else. All the elements of an incredible series are present; they just don’t all come together as nicely as they could. The plot is often confusing and unfocused. Still, at its heart BotWG is a very good folk/fairy-tale, something for which I am a total sucker. Also, the plot starts to pick up more in volume 3, what Mui’s strange bargain and Soah’s resulting return to Earth, so we’ll see what happens.

Ouran High School Host Club vol. 12 (Hatori Bisco). I’ve been reading this series online as it’s been released, so I already know that it’s around this point in the story (volume twelve) that things really start to pick up, plotwise. Readers who’ve been patient throughout volumes and volumes of filler arcs with no end in sight will start to be rewarded with some real romantic action from here on out. Not that those filler arcs aren’t great in and of themselves; quite the opposite, really. That’s what makes this series such a joy to read. Even when the plot is spiraling off into a seemingly random vortex of nonsense, it’s still character-driven and that’s what really counts. OHSHC is one of those series with which it is difficult to go wrong: consistently funny, endearing, and well-drawn even when the plot defies the boundaries of the plausible.

Dramas

Sons of Sol Pharmacy House (aka My Too Perfect Sons). This weekend drama, currently in the second half of its fifty-episode run on KBS, has got the market cornered on hilarious, heartwarming family drama, not to mention some of the best romantic comedy storylines I’ve seen in a very long time. The cast exhibits a wide variety of talent, the show is well written, and each episode is fun fun FUN to watch. I find myself truly caring about these characters, oftentimes laughing aloud at their antics, and once or twice I’ve even cried at some of the more touching moments. This show is such a wonderful breath of fresh air compared to some of the dud dramas I’ve watched recently.

Television

“True Blood”, season two. Holy canoli, has this show taken off in season two! I’m a fan of the novels on which the show is based, but after watching the first season I was kind of on the fence about whether or not to tune in for more this summer, but boy am I glad I did. This summer, True Blood has significantly improved in both quality and popularity when compared to season one. Not only are there some great new characters, including the newly-turned teen vamp Jessica and the mythically evil maenad Maryann, but some old characters also get more development and backstory, such as the now-short-haired Eric (yay!) I know that Eric in the show will never be what he is in the books, but I’m really starting to like what Skarsgard and the show’s creators are doing with this manifestation of him. Anna Paquin continues to bring fire and life to the character of Sookie, but male lead Stephen Moyer and his character, Bill, continue to irk me. Still, True Blood’s really an ensemble show, and one to which I look forward to watching each week with much anticipation.

“Dollhouse”, unaired episode 14, “Epitaph One.” The much-hyped fourteenth episode of Dollhouse’s first season turned out to be my favorite episode yet. Set in the not-so-distant post-apocalyptic future that results directly from Dollhouse imprinting technology, “Epitaph One” was fifty minutes of intensely riveting entertainment that would have made zero sense to anyone who missed the rest of the season. It actually made it seem as though season one was little more that an introduction to the main action of season two, perhaps of the whole series. That would be a good thing as far as I’m concerned. I am no officially looking forward to season two; I dare say we might expect great things from this show yet.

Theater

Disney presents “The Lion King” on Broadway. Gosh, what could I possibly say about this show that hasn’t already been said? It was amazing, of course, just as everybody said it would be. But what really got me wasn’t so much the costumes, perhaps because I was expecting that, but just the overall presentation of the story. They took a cartoon movie and, rather than creating a literal translation from screen to stage (as with other Disney musicals), they created a truly theatrical interpretation of the original film and used animal characters to tell a powerfully moving and very human story. I’ll admit that I cried, and I’m not ashamed. Plus, the music was great. I have three new favorite songs. Too bad the tickets cost about an arm and a leg. Each.

Dollhouse renewed for 2nd season!

The news that Fox’s Friday night ratings tanker will live to see another day has been greeted with both rejoicing from its small but devoted fanbase and disbelief from the industry speculators who’ve been prognosticating its imminent demise for months. Although the official announcement of Dollhouse’s renewal won’t be made until tomorrow, sources have confirmed that it’s already a done deal. Personally, I can’t say that this (welcome) development came as that big of a shock. In spite of the show’s rocky start and abysmal performance ratings-wise, it’s been pulling in consistently good DVR and Hulu numbers. Plus, the network invested about a zillion dollars in building the show’s amazing mega-set; it’d be a shame to scrap it after a only a measly half season’s mileage. I guess they’re hoping the show’s fanbase will grow enough over the summer for it to do better the second time around. Well, here’s hoping.

So, now’s probably as good a time as ever to address the fact that I haven’t written anything about this show in six weeks. I kept watching it up through last week’s series finale (and patiently monitoring the news releases for hope of its renewal), but I just haven’t had the time or motivation to review. So, I’m just going to treat this as a final wrap-up post for season one, in which I’ll talk briefly about episodes 8-12. Ok, so to sum up the last six episodes of season one of Dollhouse – well, I can’t really do that. It’s just not feasible; they were really, really complicated. There was a lot of really awesome, intriguing stuff going on, but talk about weaving a really tangled web! Instead of trying to produce a thorough summary, I’ll just focus on some of the more salient developments that stand out in my mind when reflecting on the end of the season.

First up, Victor. Let me just say that Enver Gjokaj is too cute for words. He’s pretty much the only active that I find inevitably appealing in all his many personalities. Plus, his performance as Victor in the “in between” state is pitch perfect; more so than any of the other actives he manages to give off less “mind-wiped zombie slave” and more “gentle, childish innocence.” Which of course makes what happens to him at the end all the more tragic. I’m really curious to see what happens to him in season two. He obviously can’t go out on engagements anymore, what with the marring of his (beautiful) face. Will the Dollhouse find a way to “recycle” him like they did with Whiskey (now known as Dr. Saunders)? Or will they simply send him to the Attic? Whatever happens, I hope they keep him around in some capacity, as I really love this actor and this character.

Secondly, Mr. Dominic turns out to be a mole and gets sent to the Attic himself. Whoa, I did not see this one coming. The guy always seemed so devoted (excessively so) to his job as chief of Dollhouse security. Turns out he’s an NSA agent charged with the mission, not of destroying the Dollhouse, but rather of monitoring it for as of yet unknown purposes. When she finds out her longtime associate and right-hand man is actually someone [else’s] inside man, DeWitt demonstrates just how cold and ruthless she can be. Speaking of which, the whole getting sent to the Attic thing turned out to be way more creepy and sinister than I’d initially thought. Really intense scene, that.

Also, Paul Ballard gets a lot more to do in these episodes, particularly towards the end. He discovers that Mellie isn’t really Mellie and uses her to find a way into the Dollhouse. Once inside, he actually finds himself cooperating with Boyd, DeWitt, and Topher in order to track down Alpha, who’s taken Echo. I never really and completely warmed up to Ballard, but he certainly had his moments. I still think his obsession with the Dollhouse, and his obsession with and need to save Echo/Caroline, don’t really make a whole lot of sense, unless of course there’s more to his story that we don’t yet know. Still, I thought it was way cool of him bargain for November’s release at the end, considering his history with “Mellie”, when he could have asked for Caroline. I’m really curious to see if he’ll continue his tentative association with the Dollhouse in season two. It would at the very least give him the opportunity to watch over Echo. Maybe he’ll even become her handler now that Boyd’s replaced Mr. Dominic as chief of security?

As for Alpha, while Alan Tudyk gave a great performance, the character itself kind of underwhelmed me, considering the season-long build-up. I could go into all the reasons why this is, but I’m getting tired and this post is getting long, so I’ll try to curb my enthusiasm. Basically, underneath all the evil (and illogical) machinations and the genius personality compilations, Alpha turns out to be a pretty standard baddie whereas I really though his particularly brand of villainy would be something to write home about. Still, I love Alan Tudyk (whom I literally bumped into in a Starbucks once), and he did a great job with the role.

Overall, I think this show’s got loads of potential and I’m psyched it’s returning for at least one more season. The premise of the show is an extremely difficult one to market and execute, and some of those difficulties definitely manifested themselves in the final product, but it’s still a really unique and fascinating creation. So congratulations to the cast and production crew of Dollhouse on beating the odds and getting renewed. See you next fall.

Looking ahead to True Blood season 2

HBO's begun to promote the sophomore season of True Blood, their television adaptation of Charlaine Harris' series of vampire/supernatural/mystery novels. In spite of the strongly mixed nature of my feelings towards this show, I must admit I felt a little shiver of excitement when I saw these stills. So I guess I'll be tuning in June 14th for the premiere of season 2. Let's take a look, shall we?

Let's see... We've got Bill and Sookie, the two luvy-dove birds, being all sweet together. Here's hoping for lots of wrenches to be thrown into that relationship in season two. Personally, I enjoyed the books a heck of a lot more after she ditched him and stood on her own for a while. Next up we've got Eric (yay, my favorite character), along with subbordinates Pam and Chow all putting their game faces on, so to speak. Below that is a picture of what I can only assume is a new waitress at Merlotte's. In the books, the bar's staff has a pretty quick turnover (with a few exceptions of course), but I guess this girl has a pretty significant role in season two judging from this photo. And then we come to my favorite still, featuring Eric's shorter hair! This is taken from the promotional video, not from an actual episode, but I heart it so there.

Starting from the top of the right column, we've got Jason finding (mis)guidance from the fanatical, cultish religious group known as the Fellowship of the Sun. I think he's still got a lot of lingering guilt from everything that went down in season one, but of course, being Jason Stackhouse, he's going to deal with it in the most boneheaded way possible. Below that we've got some kind of shindig happening at Merlotte's, and Michelle Forbes' character on the dance floor with none other than detective Andy Bellefleur. And finally, we have Sookie with Tara and Sam all gazing pretty intently offscreen at something that just went down. Because in Bon Temps, there's always something that's just gone down.

If a picture's worth a thousand words, how about a video? Here's the recently released promo for season two:

Let's see... Wierdness? check. Blood? check. Sex? check. Yup, looks like True Blood's back in business. This show walks a pretty fine line between kitsch and cool. Sometimes I find myself bemoaning the blatant proliferation of hackneyed genre stereotypes, while other times I find the show's innovative use of those same steryotypes to be very compelling. And then the rest of the time I'm just plain grossed out by the graphic imagery that constantly reminds me I'm watching an HBO production. In any case, the show is very different from the novels. They took a lot of the same characters and storylines, but they managed to give birth to en entirely new breed. Which is, I guess, what an adaptation should be. So, yeah, I'll give season two a shot.

Dollhouse episodes 6 &7: the plot thickens

In fact, it's even starting to congeal. But is that good or bad? Is it just too little too late, or is it the beginnings of awesomeness? Difficult to say, really. I always find it hard to write about this show, if for no other reason than because it's just so gosh-darn complicated. There hasn't been a single episode thus far that could be reduced to a 20-words-or-less explanation, and you can just forget about summing up the whole series' premise in one sentence. Anybody who's tried to explain this show to an ignorant friend knows exactly what I'm talking about. On the one hand, this is good; Dollhouse is not a stupid show. It's not hackneyed or cliché or simplistic. On the other hand, there are definitely reviewers and critics who think the show's trying to be so many things at once that it ends up being nothing much in particular. Yet Joss Whedon's creations have never really been tailored to the expectations of the casual viewer. They're much more suited to cult followings than to mainstream audiences. All in all, some people might scoff and ratings basically suck, but I'm officially invested in the rest of this season, and I'm kind of hoping there will be more in the future.

So, episodes six and seven contained some major plot developments. Firstly, Mellie, Paul Ballard's neighbor and the closest thing he has to a friend, is actually an Active herself (her Doll name is November). Also, there's somebody else on the outside (other than Ballard) who's trying to bring the Dollhouse down. And unlike Paul, this person seems to have considerable knowledge of the Dollhouse's inerworkings, and has even managed to plant a mole on the inside who can tamper with the imprints if necessary. I can only assume at this point that this person is Alpha, and I'm betting the mole is Topher's sacrastic assistant, but who knows. Thirdly, we find out that "the" Dollhouse is actually only a Dollhouse. There are apparently Dollhouses in major cities all across the globe, all run by a single corporation for an as-of-yet unknown purpose. We've been lead to believe up till now that the actives' engagements are the main purpose of the Dollhouse, the actual reason for its existence. But now it seems that the engagements merely provide funding for the organization's true purpose, whatever that may be.

Episode six proved that the show is not afraid to tackle some pretty ugly themes. The sexual abuse of a Doll by a handler, for example, I found particularly disturbing. It was sick, really, the way Hearn would tell Sierra it was a game, and that she had to be very quiet because "noise is upsetting", and of course she wouldn't think to resist, but she would cry and say that the game wasn't fun. Talk about your abuse of power. Ugh. The violent scene with Mellie/November was also pretty intense. It was upsetting without being graphic, and kind of creepy. This episode in particular had some really great plot-twist revelation moments, not the least of which was when Adelle dropped the "trigger" to turn the choking Mellie into a very scary kick-ass November.

While episode six was pretty gritty, episode seven gave us a healthy dose of humor while still maintaining much of that intensity (in general this is not a very light or jokey show). The best thing about the whole cast being affected by a wierd drug that breaks down their natural inhibitions is that we get to learn lots of interesting things about these characters. Boyd plays the piano, for example. More shockingly, Adelle has a conscience. And so does Mr. Dominic! And Topher - well, actually, he pretty much acted the way he always does. Anyways, it was pretty frickin hilarious watching him and Adelle blunder around together and argue about British-ness and eat chips on the floor and cower in the corner to hide froma potentially violent November. Additionally, this episode also revealed some more information on who Caroline was before she became Echo, and it wasnt' exactly the sort of thing I would have expected.

Anyways, the more I watch this show the more I like it, so I'm sticking with it. So, check out this montage style recap of episode seven, "Echoes", and be excited for episode eight.

Dollhouse, episodes 2-4: hope springs eternal

Note: I wrote this before I watched the most recent (fifth) episode. After watching the fifth episode the general impressions I expressed in this post remain unchanged, so I'll leave what I've already written. Also, I'd just like to say that I wrote this in a very sleep-deprived state.

So a few weeks ago I wrote about my belated discovery of Joss Whedon's new show Dollhouse, and about my mixed reactions to the first episode. Now we're four weeks into the season's run, with the fifth episode soon to air, and although I'm not completely hooked (yet) I am still watching and hoping for great things to develop. The first four episodes were undeniably flawed, so maybe I'm just clutching vainly at straws and putting too much blind faith in Whedon's name. But still, I'll try to artiulate my reasons for believing that this show has lots of (as of yet unrealized) potential.

Thus far in the series, each episode consists of a different engagement for Echo that inevitaby goes awry in some way, forcing her to deal with situations for which Topher's imprints have not quite prepared her - something that goes against the very definition of what an active is/does. As Boyd, her handler, observes to Dr Saunders (the Dollhouse's resident physician, played by Amy Acker), "She seems to have the ability to think outside of the pieces we give her and create." So far this strange proactivity (remarkable in an active), as well as brief flashes of almost awareness in her eyes, and subtle hints of her retaining traces of her experiences in the engagements - these are the only things providing any sort of continuity to Echo's character. But I'm sure that will change as we learn more about her former (true? original?) identity as Caroline.

Meanwhile, the solitary, relentless FBI agent Paul Ballard continues his seemingly hopeless search for clues about the Dollhouse. He's continually finding his way blocked by the higher-ups who dismiss the Dollhouse as an urban legend (or who perhaps wish to keep him from exposing its existence). The clueless Russian mobster whom Ballard seems convinced has access to Dollhouse-related info actually actually turns out to be an active named Victor, no doubt imprinted planted to put Ballard off the trail. We also learn about the existence of a rogue active named Alpha who escaped from the Dollhouse at some point in the (recent?) past, but not before going on a bit of a killing spree first. This Alpha guy is very mysterious, and he's got "big bad" written all over him, but he also seems somehow to be connected to Echo/Caroline. He's even ananymously sent Ballard photos of her before she became an active, along with the cryptic message "keep looking." Oh, and I read somewhere that Alpha's going to be played by Alan Tudyk. Psych!

And that doesn't even cover everything that's already going on in this show. There's definitely some pretty complex, intriguing, mysterious stuff just beginning to evolve, but a show can't survive on this alone. It must also be thoroughly (not just mildly) enjoyable to watch, and so far each episode's been hampered by lackluster scripts and scenarios. There's also been a conspicuous lack of that quircky, quippy dialogue one customarily associates with Whedon' s works, and the stand-alone storylines of Echo's individual engagements have been decent enough, but nothing really extraordinary. There have been hints at really interesting things starting to percolate, but that's it - hints sprinkled throughout episodes that for the most part fall a tiny bit flat. But I still think this is just a show that hasn't yet reached its full potential. There's so much backstory (for Echo, Alpha, Ballard, and probably many others) that's so clearly being witheld at this point. There's so much that could be explored that isn't yet.

There are also certain other factors that give me hope for this show's future improvement, and many of them concern network politics. If one is optimistic enough, the disorganized pilot and the not-completely-satisfying first few episodes could possibly be chalked up to Fox's meddling. The original preview for the show (the same one I included in my previous Dollhouse post) consisted entirely of clips from the original pilot, which was yanked by Fox and never aired. After giving the show the green light, the network apparently wanted so many changes and redirection done to that first episode that Whedon decided to scrap it and start from scratch. And that wasn't the end of it either, because it supposedly wasn't until the sixth episode that Fox really gave Whedon free creative reign over the show. And word on the cyber street is that things really take off in that sixth episode. And while all this talk might come to nothing, I'm somewhat inclined to believe it won't. Why? Well, optimism for one thing, and also the fact that I read the script of the unaired pilot (penned by Whedon) and noticed a huge difference from what I've seen of the show so far. That script was, in a word, awesome. I guess I can understand Fox wanting to make the show more "accessible" to people, but I really don't think they're going to score big ratings (on Friday nights, no less) by stiffling Whedon's wierdness. Because he is an evil genius after all, but in a decidedly good way.

As far as acting goes, Dollhouse's got a pretty good supporing cast, and I kind of love the side characters already. It's still a little difficult to really connect with Echo as a character, what with all the constant changes and everything, but I think Dushku's doing a pretty good job, regardless. Especially with Echo's more fragile, vulnerable moments. I'm used to a seeing a more kickass Faith-type from her, so it's nice to see a bit of range in that department.

Just one final consideration: all of Whedon's shows that I've seen (Buffy, Angel, Firefly) had more or less shaky starts. Considering how they all turned out, I'd say a little bit of faith and patience is justified with his latest endeavor. That being said, if that sixth episode doesn't turn out to be a real knockout I'll be sorely dissapointed.