Posts Tagged ‘Dollhouse’
Well, this is it. Dollhouse is over. It’s done. A lot, a lot of stuff happened in “Epitaph Two.” I don’t even know how to summarize it. “Epitaph Two” starts up where “Epitaph One” (the lost episode of season one) in the year 2020 when the tech has gone crazy and there are completely wiped people called “dumb shows” or imprinted people that attack everyone called “butchers.” Mag and Zone are following the mini-Caroline to haven when they meet up with “real” Caroline and Paul and find Topher (who has gone crazy). But Topher is close to developing tech that will restore everyone’s (as in the whole world, everyone) original identities. At haven they find Adelle, Prya (Sierra) and Prya and Tony’s (Victor) son, T. Tony brings his merry band of butcher-fighting tech heads. They all head off for Los Angeles to get to the Dollhouse where Topher can find the tech that he needs and Caroline, Prya, and Tony can be protected from the pulse that will restore everyone’s original identities.
So they get to Los Angeles and Paul is killed by an attack. Caroline doesn’t react then, but then loses it later because she didn’t tell Paul how she felt about him and now she’s all alone. And it turns out that Alpha has turned the dollhouse into a dollhouse again…and he’s friends with everyone! Topher ends up having to sacrifice himself for the sins of his tech because the bomb that activates the pulse has to be set off manually. And in the end, Caroline imprints herself with Paul (I think) so that they can be together in her head…it was kind of weird. And those who were imprinted and don’t want to go back to their original identities (Caroline, Prya, and Tony) are stuck underground in the dollhouse for a year waiting for the effect of the pulse to wear off. The end.
(Note: This summary is not totally complete because so much happened that I couldn’t really include everything or else it would get ridiculously long as opposed to just long.)
First of all, I liked that they brought most of the people back for the finale. We didn’t see Amy Acker (Claire/Dr. Saunders/Whiskey) or Miracle Laurie (Mellie/November). But we did see Alpha and Bennett come back (Bennett in an old video as she was killed a couple episodes ago). It felt nice (if that’s the right word) to see everyone together again, kind of.
But I didn’t really appreciate how people who were wiped were referred to as “dumb shows.” It was kind of ableist and offensive…and by “kind of,” I mean totally. But we already knew that Joss Whedon has a tendency to create ableist shows.
I just don’t really know what to say. It’s over and so much has happened that I don’t really know where to start. They brought a little bit of their original questioning of what makes a person back into this episode. With Prya and Caroline not wanting to return to their original identities, I thought that they were showing that Prya and Caroline, despite being imprinted, are real people. They have real memories and feelings. I thought this was kind of saying that memories are what make you a person. But Bennett, in her video, was bringing up the idea that “we are what we do, not what we have done or will do.” We are best defined why our actions in the now. But that still holds with the idea that people who are imprinted are still people.
And Eliza Dushku did a great job in this episode, especially when it came to showing emotion. Throughout the series, she has struggled with showing emotion. I know that as Actives, they aren’t really supposed to show a lot of emotion, but even when she was imprinted, I didn’t always buy the emotion that she was trying to get across. It usually felt a little forced. But tonight, especially in her reaction to Paul’s death, she did a great job. She was good at showing her sense of both loss and loneliness. And she was, of course, good at tacking control and kicking ass. But Eliza Dushku is usually pretty good at that…just look at Faith on Buffy.
And I like/am kind of frustrated by how Joss still left us with a major question: Right before Topher exploded, he looked at the “Remember” wall in the office and said “huh?” But then he (and everything around him) exploded so we have no idea what he saw. My idea is that since he was looking at the wall of people who had fallen in the fight or were imprints, I think he saw a picture of himself. But that’s just my idea. No one really knows.
And also, when did Dollhouse become an action movie? There were parts of the episode, mainly the big gun fight, that I thought were a little over the top and didn’t really fit with the series as a whole. I’m pretty sure it was just Joss living out his childhood fantasies.
As much as I did like the final episode of Dollhouse, I’m a little disappointed with how the series ended overall. In the end, the show was moving away from the themes of identity, consent, human trafficking, and personhood for a more of an action storyline of trying to bring down Rossum. I think, though, that this was a result of trying to wrap the show up earlier than they would have liked and they needed to have some sort of finality in the show. And bringing down Rossum and restoring everyone in the world to their original identities definitely had a sense of finality.
Sorry my review is kind of all over the place. So much happened in this episode and I’m still trying to process everything. And writing this post has helped me a little in processing and because of that, I think of a new idea and add a paragraph and it might feel out of place. But I think it makes sense for the most part, so that’s good at least.
Also check out meloukhia’s review up at this ain’t livin’.
What did everyone else think of the final episode of Dollhouse? Did you think that they did a good job of wrapping the show up? Did you have any problems or issues with the episode or show in general?
Dollhouse is back this week with the start of the final three episodes of the series and some majro things happened this episode. We learn how Caroline and Bennett (guest star Summer Glau) first met and became friends, Dr. Saunders has come back to the dollhouse (it tunrs out she has been shacking up with Boyd for the last two months), and we learn the identity of the leader of Rossum (this is where the hating of cliffhangers comes in).
As you may have guessed, Summer Glau has reprised her role as DC programmer Bennett, ex-friend of Caroline and love interest of Topher. They need Beennett to reconstruct Caroline’s original personality which has been destroyed. Caroline is, of course, the only person who has seen the leader of Rossum and “lived” to tell the tale, so they need that information to bring Rossum down. Now that Dr. Saunders is back, some things seem to be tense. Then she goes and shoots Bennet after giving a speech about how she is surprised that Topher can love another human being. It is assumed by everyone that Rossum got to her while she was away from the dollhouse.
And that assumption is not surprising when we get to the end of the episode. At the very end of the episode we see the face of the leader of Rossum. There are two men in the room. One we’ve never seen and … Boyd. So if Boyd is not the leader of Rossum (which we can assume that he is), he is at least lying about his involvement with Rossum.
Why does Boyd need Caroline? What is his endgame? Does Dr. Saunders know who he really is? What is her involvement with Rossum? What whill happen when Caroline comes back?
They are obvioulsy building up to the world that we saw in “Epitaph One.” In fact, there was even a scene in this episode that was in “Epitaph One” — the one between Boyd and Dr. Saunders when Boyd is runnng away from the dollhouse, which was nwo know he was not intending to do. And everyone is getting closer to being trapped in the dollhouse. Sierra and Victor have their original personalities. Etc, etc.
One of the major questions that came up throughout the episode was what happens to Echo if she is imprinted with Caroline. I think this is a pretty legitimate quetion especially considering the trajectory of the show. The show has put a lot of effort into creating Echo into a “real” person. We have been forced to question what makes pershonhood and if Echo is a real person even if she started out as Caroline. The show has obviously been telling us, especially in the past coupel episodes, that Echo is in fact a person. So will Caroline be absorbed into Echo’s personalities or will Caroline take over and cease Echo’s existence? I guess we will find out in the next episode. My guess is that Caroline will just be absorbed into Echo.
Oh, and now that Ballard has had his brain rewired and is a doll in order to keep him alive, he doesn’t remember his connection with Echo. He has all the memories but none of the feelings associated with them. I don’t really know if this will be important but it could be.
I really wnat to know what Boyd is up to and if he is really the evil leader of Rossum! This is why I sometimes hate cliffhangers (especially Joss’ cliffhangers)! They just dropped this bomb on us and then we have to wait a whole week to get some sort of answers. But this is just how it works I guess. Joss also has a tendency to build up characters into these people that we like and have a connection with and then rip that away by making them out to be this completely different person who may or may not be evil.
Another night of two hours of Dollhouse. With these two hour episodes, so much happens that it’s hard to write a proper summary, so I am just going to bullet point some main things that happened:
- Victor/Anthony’s contract was up so he was released into the “real world” where he was recruited by a Rossum-run army that needs ex-Actives for their programmable brain. They implant a chip that creates neural radios and mass-group think among all the soldiers. Echo and Sierra/Priya break him out.
- Topher finds a way to rearrange Ballards brain and imprint himself with himself to bring him out of his Alpha-induced coma
- Adelle seems to be running the Dollhouse into the ground and taken to copious amounts of alcohol.
- Echo, Victor, and Sierra are sent to the Attic where they learn that the Attic feeds Rossum’s mainframe — they are turned into human computers. The adenaline that is produced from keeping the people in a constant state of fear increases the processing power.
- Echo finds out that you can escape from the Attic by killing yourself and bringing yourself back to life or being revived on the other side.
- And it all turns out that it was part of Adelle’s evil plan to bring down the Dollhouse/Rossum!
I did like the first episode of this two-parter a little bit more because it wasn’t as Echo-centric — there was a lot of Victor in there. Even sense Echo has become “self-aware” (as they call it) and “more like a person,” I haven’t really liked her as much. I know that sounds weird, but now that she can fully access all of her imprints with no problems, it’s kind of boring. I liked her more when she was having flashes and we weren’t really sure what was going to happen with her.
But one thing that I didn’t like about the episode “Stop-Loss” was the “love can conquer all” theme. Victor/Anthony and Sierra/Priya can remember each other even when they are their “original” selves, when they are programmed as different people, or when they are in their “doll state.” Does anyone else find this weird? Don’t they advertise the technology as being able to wipe everything? But apparently love is on a deeper level. Don’t get me wrong, I like them together…it just doesn’t make sense to me in terms of the previous storylines and continuity with the technology. And I’m just not a big fan of hugely sappy things.
There’s a lot that I don’t get about the Dollhouse universe and technology, but I just completely do not understand the Attic. It was really weird, even for Joss Whedon. And I don’t understand how they can jump from one person’s head and worst fears to anothers. How does that work? I just really didn’t understand what was going on in that part of the show.
And I’m pretty sure meloukhia called it when she said (something along the lines of): “remember on Angel when he had to convince his friends he was evil in order to bring down Wolfram & Hart — that’s what is happening with Adelle.” That’s pretty much exactly what happened in these episodes. Throughout the whole episode(s) we are left to think that Adelle has gone crazy and evil and drunk and doesn’t care what happens to other people at all. But wait, she has a plan to bring down the entire corporation! Dont’ worry, Adelle’s got your backs. And speaking of flashbacks to previous Whedon shows…Echo is starting to remind me a lot of Faith from Buffy/Angel after she turned good again — and not just because they are played by the same actress. They both seem to have the “I’ve done some bad things before, but now I’m going to use my skills for good as a way to repay for my sins” kind of feel to them — in different ways, but it’s still there.
And I really like how this branch of the Dollhouse is being billed as the “Dollhouse that cares.” None of the other Dollhouses care what happens to their Actives when they are in the Dollhouse, let alone when they are released. But if you are lucky enough to get put in this Dollhouse, they will really take care of your and care about what happens to you. It just feels weird that none of the other branches have gone looking for missing ex-Actives (as in the case of Victor/Anthony) or even slightly stood up to the Rossum corporation.
I do have to say that I was a little more impressed this week than I was last week. It had more of a storyline to it. Or maybe I was just in a better mood when I watched it. But I think they are trying too hard to wrap it up into a nice little bow to end with that they are skipping over some important developmental steps — like all of a sudden Topher has morals (earlier in the season) without much of an explanation. I know that the show is ending soon and they want to go out with a bang, but I think they are missing some important steps in getting to that bang with trying to make it look all pretty for Fox.
Speaking of going out with a bang, there are three episodes left of Dollhouse, which will apparently return in three weeks. And I thought Amy Acker as Dr. Saunders/Whiskey was supposed to be in some of the later epsiodes of the season, so I wonder if she’s going to show up in these or they just took that part out after the show got canceled. I hope she comes back because I think she was one of the more interesting characters.
Ok, so this week I’m going to forego a summary and much of analysis because right now I really need to vent. Some of you might be upset about that, but you can leave your analysis of the episode(s) in the comments.
I don’t know if it’s because I watched these episodes after a long day of work when I was tired and cranky, but I just did not really enjoy these episodes. I mean, they were entertaining enough, but they weren’t really up to the calibre of some of the previous episodes.
I really didn’t like that they did the time jump into 3 months later. It just felt kind of forced and I didn’t really understand what was going on — in a bad way. In “Epitaph One,” they jumped into the future, but they did it in a good way. It was entertaining and it left a lot of questions that would be answered in the time to come. It showed us what was going to be and left us to guess how they were going to get there. These episodes just jumped forward without much of an explanation.
I do have to say that the second hour/episode was much better than the first — but I think that’s pretty much because Alan Tudyk was back as Alpha. I love Alan Tudyk and I think he does an amazing job in this role, so I was really happy to see him pop up again.
I was just not impressed with these episodes. I’m still looking forward to how Joss Whedon is going to go about ending this series. I’m hoping that they will actually wrap some things up since they know it will be the last episode instead of leaving a bunch of things opened ended…like has happened before (cough…Firefly…cough — but I guess they did have Serenity after that). Does anyone know when the end is coming?
I also think that they are trying to do so much with these last few episodes and fit in a bunch of guest roles (Summer Glau and Alan Tudyk, for example) that the stories are kind of losing some of their substance. It’s less critical and thought-provoking and more in-your-face than it used to be (or maybe that’s just me). I would think that Joss Whedon wouldn’t care what Fox thought anymore now that Dollhouse has officially been cancelled so he would have done things more his way. Or maybe he is doing things his way and it’s just not that great for me. Who knows.
What did everyone else think of the episodes this week?
Dollhouse is back! Even with the sad news that Dollhouse has officially been cancelled, I was glad to see it return and I’m glad that they are letting them run out the episodes that they have left. Last night they aired two connected episodes, “The Public Eye” and “The Left Hand.” So much happened in these two hours that I am just going to do some quick bullets to recap some of the main points and then I’ll get into analysis. So this is what we found out in these two episodes:
- Senator Perrin (played by Alexis Denisof) is an Active/Doll and Rossum is using his fight to bring down the Dollhouse to their own advantage
- Madeline (aka November/Mellie) has turned against the Dollhouse and now wants to testify against them at the Senate hearing
- We get to see one of the other Dollhouses — the D.C. Dollhouse. Their chief programmer (Topher’s position in LA) is played by Summer Glau who knew Caroline before she became Echo and has a grudge against her. Bennett tries to kill her using Senator Perrin.
- Topher has to go to D.C. so he imprints Victor with himself to run things back in LA. Victor as Topher was hilarious.
- The Dollhouse must have gotten to Senator Perrin because he testified that Rossum was a good company and the Dollhouse didn’t exist.
- Echo escapes the Dollhouse. At the end of the episode she is out wandering around in “doll form,” as they say.
I really like that Dollhouse is back and I enjoyed seeing Alexis Denisof and Summer Glau (both Joss Whedon alums) play major roles in this episode, but I have to say, I’ve seen better. I really like episodes of Dollhouse that push on controversial issues and really make the viewer think, whether they want to or not. While there are always some controversial issues that are addressed in episodes of Dollhouse, this episode didn’t really stand out in any way for me.
The trials about Rossum and the Dollhouse always bring up the issues of consent and autonomy. But one of the main things that I got from these episodes were questioning what happens to the people the Dollhouse creates when they imprint an Active. When Echo and Senator Perrin realize that they are both Actives and go on the run, they start questioning who they are, who they were, and if they really want to go back to that. The both come to the conclusion that they want to stay the way that they are, that they don’t want to go back to their original personalities/selves.
When the Dollhouse imprints the Actives, they are creating new people who have lives and emotions. So when they wipe those imprints, are they essentially murdering those people? Is it ok that they murder these people since they created these people?
One thing that really stuck out to me as well was the random joke about domestic violence. When Senator Perrin’s handler (his wife to the public) brings him in, she discusses with Bennet (Summer Glau’s character) how they are going to explain (as in program) all the bruises on both of them to him. His handler makes the joke “he beats his wife.” Bennett doesn’t accept that and just brushes it off by saying he loves his wife. But why would the show even joke about that? Why even put that line in the show? I think it’s just an example of how not seriously domestic violence is taken in this country, and around the world.
I was really looking forward to Summer Glau’s guest spot on Dollhouse, but I was kind of disappointed with her character. She played a mentally unstable, super-smart programmer with a grudge. She did a great job at playing the character, I just think they could have come up with a better character for her. I was half expecting her to play a doll because of how well she’s played characters like River Tam in Firefly, but maybe that’s exactly why they didn’t make her an Active — because everyone was expecting her to be one.
My favorite part of this episode, though, was Victor imprinted with Topher’s personality. He did such a good job and getting all of Topher’s mannerism and his voice even sounded eerily similar. It was just hilarious to see Victor acting in that way when we are so used to seeing it in Topher. And then to have them interact with each other and recognize that they are the same person, it was really funny.
Even though I am sad that Dollhouse has been cancelled, I still can’t wait to see what Joss Whedon has up his sleeve for the last few episodes. I’m not sure exactly how many episodes there are left, but I’m really excited to see how Joss Whedon uses the storyline and how they are going to end things with the Dollhouse.
We all know: I love Joss Whedon. I love his writing. I love his shows. I think he’s great at creating captavating television. But he has some major problems — all of his shows show a lack of diversity, a problematic understanding of female sexuality, and more. But the problem I want to talk about today is ableism. Ableism seems to be a prevalent theme throughout his shows. (A note before I start looking at his shows: I’m not going to remember every single episode of his that I’ve watched. I’m sure there are some exceptions to what I’m about to say, but they are most likely the exceptions that prove the rule.)
So, let’s start with Buffy. Buffy is a show that is based around a woman with super-human abilities. Not only is she able-bodied, she’s more-than-able-bodied. And so are many of the people around her — Willow and Tara are witches, Anya is an ex-demon. The show often features language such as “I’m so mentally challenged” and the like when they do not have any mental disabilities. Doing this diminishes the importance of disabilities for the people that live with them and what those people go through on a daily basis.
On top of all of this, the demons and people who aren’t demons that they fight are often portrayed as “crazy” or mentally impaired in some way. The case that I am thinking of specifically (because I just watched it) is “Out of Mind, Out of Sight.” In this episode, a girl is ignored so much that she actually becomes invisible. She then goes around seeking revenge on Cordelia and her friends, who she sees as the cause of her problems. She’s portrayed as crazy, and therefore mentally unstable, but it is really just a result of the social context in which she lives.
Firefly is one of Joss’ shows that was cancelled much too soon — after only half a season on Fox — and was later made into a movie, Serenity. River was tortured by the Alliance in order to use her “special abilities.” She has psychic abilities and the Alliance wanted to use those in a sort of army. Her brother, Simon, rescued her from the Alliance and, because he’s a doctor, tried to bring her back to health. You see, her torture left her mentally unstable, and with a combination of psychic abilities, she could be pretty dangerous at times. While many of the serious plot line revolved around River, her mental unstability was often used to lighten the mood. It was kind of like “look what silly thing River will do next” time on Firefly at some points.
And then there’s Dollhouse. Oh, Dollhouse. The storyline of Dollhouse revolves around perfect bodies. An Active has to have a perfect body in order to be wanted for engagements, and the Dollhouse makes money off engagements, so they aren’t going to keep anyone around who doesn’t have that perfect body. As soon as Whiskey has her face cut by Alpha, she is made into Dr. Saunders so that she never leaves the Dollhouse because she’s broken — no ones going to want an Active that’s deformed. But when Victor has his face cut up by Alpha, he gets his face fixed…but that’s a story for a whole other post.
TV isn’t usually the place where we see a lot of people with disabilities. It’s not as if Joss Whedon’s shows are any different from other shows in the number of people with disabilities that are regularly featured. But Joss has had a reputation of creating shows that revolve around the promotion of the able body in ways that other shows don’t. His shows value the able body not by only showing people without disabilities, but by centering shows around what able bodies can (and should) do. As well as using disabilities as a way to lighten the mood.