Dollhouse

I want to trust you again, Joss Whedon. I really do.

I'm no fan of serial fiction in general, and televised serial fiction in particular. I don't feel that the format is incapable of producing anything good, far from it. I see it as a high-risk venture. With a book or a film, the artist can present a coherent work, and say, "Here is my vision. Take it or leave it," Not so with a television show. You must please the viewers enough to keep them watching, feed the advertisers good ratings, and perform well enough to prevent the network dumping you for some dime-a-dozen reality show that might carry more market share.

Generally speaking, this is not an environment that is conducive to artistic expression. And you should know this better than anyone at this point, Joss.

I'm not saying that a shorter format is always better. I actually like the idea of taking your time with a story, slowly unraveling the mysteries while simultaneously just basking in the universe for a while. I think science fiction and fantasy are uniquely suited to the format, because if it's done right, there are hours of enjoyment to be had from just being there. When that feeling of wonder is supported by interesting characters and a compelling story, it's a beautiful thing indeed. Unfortunately, most shows just follow the same old recipe. Take a manageable number of young people, add a few apartments, sprinkle with sexual tension and boil... ad nauseam.

But that's not how you approach televised fiction, Joss. And that's why I've started Dollhouse against my better judgment.

Speaking of judgment, what the hell were you thinking going back to Fox? You already know that the average Fox viewer is an inbred, slack-jawed simpleton just looking for some titillation while NASCAR is on a commercial break, flipping back and forth compulsively, pausing only to wipe the crumbs of Cheetos and paint chips from his unkempt beard. You also know that the average Fox executive is a slimy weasel with too much hair product who has probably calculated the street value of his grandmother and wouldn't recognize a heartfelt attempt at artistic expression if it beat him to death with his own nine iron.

So what gives? You have amnesia? Are you toying with us? It is all part of an elaborate revenge scheme to get back inside their corporate headquarters so you can find the Fox exec who axed Firefly and beat him to death with his own nine iron?

Can I help?

Dollhouse is fun because it's not a wonderland based on magic or spaceships, but on the excesses of the rich and powerful. It's a cyberpunk TV show, and just typing those words in the same sentence makes me happy. I believe it's an under-utilized genre considering its potential.

For those who have not seen it, the show revolves around the titular organization, which is more or less a stable of young men and women who spend their days working out, eating right, and doing yoga in a childlike state of mind. Then, whenever one of the aforementioned rich and powerful clients needs their services, the dolls are implanted with a false personality for the duration of the job. They can be contracted for everything from a romantic encounter or a hostage situation, but they are given memories and skill set appropriate for the scenario. As soon as it's over, they return to the dollhouse, and their minds are erased.

Echo, played by Eliza Dushku, is the show's main character. She is the dollhouse's most sought-after agent, or "active" as they call them. Meanwhile, Tahmoh Penikett plays Paul Ballard, an FBI agent out to prove the dollhouse exists even though everyone thinks he's crazy. Of course, there's a big conspiracy and a mysterious and murderous "alpha doll" running around somewhere.

This is where the trouble usually starts. A series like Dollhouse needs to have a long-term plan that makes at least some sense. Unlike those shows that follow the "young people in an apartment" format, the setting is as important a feature as any character or four year long unrequited love plotline. The setting is going to evolve and change, and that's when things can go crazy.

This happens with your shows almost as a rule, Joss. Take Buffy the Vampire Slayer, for example. I liked the show, but when you look back on the major story arcs, they wouldn't fit together if it weren't for the common characters. I think the best shows have stories which rise organically out of the history, not the "monster of the season" stuff that happens in Buffy.

Do we need to sit down and re-watch season four?

Allow me to illustrate my point. Take The Wire. I think it's the best example of televised serial fiction ever and one of the reasons for this is that although each season has a different theme and an altered cast of central characters, nothing comes at you out of the blue. The events of one season lead into the events of the next. That change brings with it all new perspectives and new situations but there's a logic to the ebb and flow of the show's focus. Maybe you think that's unfair because HBO seems to give its series more leeway than the networks do. How about the much-maligned Star Trek Deep Space Nine? I set it above the rest of Trek because there is a strong sense of continuity over the course of the series that comes from the evolving political and cultural atmosphere in the galaxy. One thing leads to another, you see?

So far things do look good, Joss. As always, I find myself immediately absorbed in your world, because you set the scene so well. I also find the information dynamic fascinating. In most episodes, the key events are experienced by the dolls, while the other characters have a second-hand understanding of what has taken place. We the viewers get to keep that information, but the dolls' memories are erased (or blocked, at least) by the end. However, there are also characters with a deeper understanding of the history, and so the viewer is situated somewhere in between. It's a satisfying feeling and it can provide loads of storytelling options down the road.

It's not going to be easy, though. I'm rooting for you, but I'm not betting the farm. Even if Dollhouse does avoid problematic narrative detours, we both know it will have to survive the rigors of the major broadcast television gauntlet. Firefly is proof that you can do everything right and still fail. Lovable characters, unique concept, spaceships, gunfights, beautiful women, spaceships... Apparently the average viewer can't handle all that brainy junk. They'd rather watch insufferable people shriek at one another about their bullshit problems. I don't mean to sound too elitist, but I do have history on my side here. Your ideas deserve better than that.

I'm ready to give this another try, Joss, but remember I've had my heart broken before. We need to take it slow. I'll see you next Friday.