Joss Whedon's Dollhouse was a frustratingly inconsistent experience. From a mediocre pilot and downright boring first few episodes, to a deeper ongoing plot and a fantastic bonus episode Epitaph, it has been an exercise in highs and lows. The second season was no different, starting out with the same failed formula as season one, although it quickly moved in the right direction. At its best Dollhouse was a fascinating modern-day/near-future cyberpunk tale. Whedon extrapolated from the technology at the center of the series to a possible apocalyptic conclusion. At its worst Dollhouse was a formulaic thriller with Echo (Eliza Dushku) as its focus. The central conceit resulted in a variety of generic plot-lines, which could have been found on any number of other shows not run by Whedon.
     For those who did not watch any of the series, the dollhouse of the title is a sort of sci-fi brothel. People who are down on their luck can volunteer their bodies for a five-year engagement in which they are implanted with various other identities. Those who are wealthy enough can rent a customized human being whose mind is designed to the client's specifications. Echo, as the primary doll in the house, would be implanted with the mind of a dead wife in order to please a rich widower, or the mind of an expert criminologist to assist in an FBI investigation, etc. As the series wore on, the mysterious corporation behind this enterprise and the evolution of the technology itself became of far greater interest than the actual missions Echo would be sent on.
     From Buffy to Angel to Firefly, Joss Whedon-run shows are usually known for their strong characters, particularly female ones. Dollhouse was a disappointment in this area as well, with a few exceptions. Olivia Williams as Adelle DeWitt, the madam of the brothel that was the dollhouse, stood head and shoulders above the rest of the cast in terms of talent. Adelle was an intriguing character if a bit inconsistent in season two. Tahmoh Penikett was perfunctory as Paul Ballard, the intrepid FBI agent investigating the dollhouse. He was needed at the beginning to give viewers an entry point into the world of the series, but his character quickly became redundant. Harry Lennix as Boyd Langton was a strong choice for someone the audience could identify with inside the dollhouse during season one. Later decisions regarding Boyd were a bit ridiculous, as they were with Adelle, but that is attributable to the writers' knowledge that the show was canceled and the desire to wrap up loose ends.
     The dolls themselves were hit or miss. Enver Gjokaj was a find--the only doll who was believable in the way he assumed different identities. Joss Whedon is an exceptional writer, the kind who should attract the best talent, akin to how everyone wants to work with Woody Allen, albeit on a much smaller scale. Unfortunately, with Dollhouse he opted for unconventional casting choices, as well as actors he'd worked with before, over actors who may have been best suited for the roles. Eliza Dushku, as Echo, is the center of the entire show, and it was always going to live or die on her performance. With apologies to Miss Dushku, she has neither the acting chops nor the fresh face to carry the show. To truly succeed, Dollhouse needed an oscar-caliber actress who could convince us that she really was becoming a different person every week. Barring that, even having an it-girl of the moment for girls to adore and guys to desire would have benefited the show as a whole.
     It's not all Dushku's fault of course. The scripts in which she was heavily featured were just not exceptional in any way, and to ask her to elevate that sort of material is unfair. Whedon eventually seems to have realized that having Dushku/Echo as the primary focus was hurting the show. As the series wore on, her role was diminished further and further to the point where she was no longer the star. Her character's role in the plot remained important, but she became part of an ensemble rather than the lead. I don't think it's a coincidence that this is also when the series began to get good.
     I've yet to mention Topher Brink (Fran Kranz), the most effectively-drawn character in the series. Firstly, he was the comic relief in what was otherwise a very dark show. Unlike in other Joss Whedon series, and to Whedon's credit, not everyone spoke as if they were the writer himself. Most of the jokes came out of Topher's mouth, and Kranz pumped them for all they were worth. Topher's importance to the plot is worth mentioning as well, as he embodied the out-of-control technology theme that was central to the show. Ever in love with himself, Topher's abilities were boundless, and he rarely stopped to contemplate whether or not he should do something before he did it. This convincing lack of morality sold the concept of the dollhouse. Through Topher we could envision how such a technology could evolve without anyone being able to stop it. Topher also became a hero for the nerds in the audience, giving them someone to identify with and root for.
     The best part of Dollhouse was the bonus season one episode, Epitaph One. It provided a glimpse of a future in which the actions taken during the series had brought upon a technological apocalypse of sorts. This added a layer to the show which it had been sorely missing--a place for the show's plot to go. There were hints about how humanity would get to that apocalypse strewn throughout season two. It was a wise choice to end the series with a return to that post-apocalyptic future, entitled Epitaph Two. Had the series survived, one could imagine Whedonvisiting this future story-line once per season, furthering the connections between the actions taken by the series regulars and the eventual dire consequences.
     The cancellation of Dollhouse was certainly not surprising given its ratings. Thankfully, its end feels less heart-breaking than that of Firefly earlier this decade. Despite its strengths, Dollhouse always felt flawed to the point that I often thought it would be better if it were canceled and Whedon moved on to something worthier of his time. While Firefly started strong and went out when it was at its best, Dollhouse sort of seems like it had its fair shot. Even during its short run, the central ideas of the show were explored in depth, and the notice of the show's impending doom gave the writers enough time to wrap up some of the loose ends. Now that it's all over, Dollhouse stands as a moderate disappointment. I am saddened that there will be no Joss Whedon series to watch every week (for now), but that is all that I can say in terms of missing the show. Someday I may revisit Dollhouse on DVD and feel like I've discovered a underappreciated gem, but for now its failure seems unfortunate but deserved.

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Dollhouse: Season One