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Dollhouse
(Joss Whedon, 2009-2010)

3.5 Stars

I’ve never been a religious man. Since an early age, a faith in a secular deity has been lacking. Possibly the vast array of faiths and cultures I was bombarded with from childhood. Or just simple nihilistic atheism.

One cult I have been indoctrinated in for well over a decade now, however, is that of Joss Whedon, a man who has, time and time again produced some of the finest TV shows that have graced the small screen. As such, I feel somewhat tentative writing this review, and hope that the lord shall forgive me for taking his name in vain.

It’s taken me a long time to finally sit down and watch Whedon’s most recent televisual venture, the apocalyptic drama Dollhouse, mostly because after watching the opening episodes first time round, I was utterly unimpressed. Of course, I should’ve known better; Whedon never pulls out the stops with a pilot. That said, after Buffy, Angel and Firefly, I had very, very high hopes for this show, none of which were ignited by the season’s opening shows.

Determined to find the joys here, though, I persevered, and by episode five, things were starting to take shape. Set in the eponymous Dollhouse, a plush science lab with the ability to “imprint” humans with any personality that a client show desire, the show follows (for the most part) Echo (Eliza Dushku – Buffy, Tru Calling, Wrong Turn), one of the “actives” who begins to recall her previous engagements.

Of course, for me, casting Dushku as the lead was the show’s first flaw. A fantastic supporting role in Whedon’s previous projects, Dushku does not hold the audience as a lead character, and is, quite honestly, and in stark contrast to her spectacular co-stars Enver Gjokaj and Dichen Lachman as fellow actives Victor and Sierra, unconvincing as most of the “personalities” she takes on.

The story arc of the first season is engaging enough; FBI agent Paul Ballard (Tahmoh Penikett) attempts to track down the Dollhouse, whilst week in week out Echo is sent on a variety of different missions. The second season, however, finally gives the show the “oomph” it needed, bringing the lesser characters to the fore-front, such as typically Whedonesque neuroscientist Topher (Fran Kranz) and the wonderful Olivia Williams as the house’s manager, keeping the audience ever on their toes with her “is she evil or not???” persona. Dushku, thankfully, is rather placed on the backburner.

Unfortunately, where the show falls flat for this cynic is not in its storytelling, but in its heart. Its themes are typical Whedon; battling big corporations, self discovery, brainwashing, Amy Acker in a lab coat… but what is really missing here is the warmth and humour that I have always admired Joss for. In every show or film he has been involved in, he has presented us with a group of bizarre reprobates, whether they be vampires and werewolves, space cowboys or even talking toys, and managed to make us care for them, thus encapsulating the dysfunctional “family” of the 21st Century. In Dollhouse, however, we are not given characters, merely shells that can be filled with anyone, thereby leaving us with no connection with our leads. Even the “real” characters are so morally defunct that it’s difficult to care about them.

That said, episode 2.11, in which something utterly heartbreaking happens to the somewhat endearing Topher, did actually make me scream at my TV screen; something that hasn’t happened since Danny was killed in season three of Spooks.

It’s difficult for me to look at this show without some prior prejudice; I simply had too high expectations. With that in mind, when The Cabin in the Woods finally unearths itself from development hell, it better be bloody good!