I have to say, Dollhouse isn't what I expected, and that makes it amazing. It is a strong ensemble cast (strong than any previous cast, as in each previous Joss show, there as always been at least one character I did not care for, and I love and want more from all the characters, even poor Dominic). It is a strong sci-fi show. It is amazingly character built. Not a single episode goes by without it affecting at least one character.
While I do believe the show suffers from its need to have a "Buffy" or "Angel" (as I feel Firefly did), it doesn't suffer from the lack, but from the forcing of Echo to fill the slot. We know she is the lead. We don't need every episode to be focused on her. Let every character breath and grow.
The show from what I understand doesn't cost Fox very much at all. That is almost a sure bet!
The writing is intensely well done. Every line feels deliberate and wanted, nothing feels out of place, and every character has a voice. Every line is nuanced and interesting. Take last weeks episode. We all know Ballard is our male hero, but the entire episode was written and shot as if he was truely the villain! Even the fight! But I want to root for Ballard, but I also want to root for Boyd! That is good writing.
Overall, history shows us that when Joss Whedon gets a second season, his shows are immensely blown-up! They flower into television art. So allow Dollhouse to bloom!
This show could possibly die tomorrow night. It could be finished, and the one season on DVD is all we get. If you read this, please, watch. I'll even give you an order to watch it in if you don't want to watch it all in order:
Episode 2) The Target
Episode 6) The Man on the Street
Episode 7) Echoes
Episode 8) Needs
Episode 9) Spy in the House of Love
Episode 11) Briar Rose
That will get you caught up to watch the finale! Now don't get me wrong, every episode is great (though some are better than others, and some are very standalone, though that isn't necessarily a bad thing), but this is the fastest and simplest way to understand.
NOTE: Echos, Needs, Spy in the House of Love, and Briar Rose are all currently online on Hulu and Fox.com. Watch them there! Also, if you want to watch previous ones, I am sure you can find them online, but I do not condone piracy ... in writing.
Showing posts with label TV. Show all posts
Showing posts with label TV. Show all posts
7.5.09
4.4.09
On Supernatural's Season 4 Metaplot
Supernatural was at one point, a really great show. It was evocative, had great play with the two main actors, and was honestly one of the shows I told everyone they needed to watch. Dean is one of the greatest characters on television currently, and Jensen Ackles is ones of the best actors I can think of through the portrayals he has done.
But this season, more recently these last two episodes, have been terrible. They both start out strong, with interesting themes, character developments, and progressions, until it comes to the climax, where it becomes just a hodge-podge of stupidity, a lack of understanding of Christian mythology (sidenote: yes, I said mytholgy; If you have a problem with that, then get over it, as I have an opinion on that), and just stupid "twists." It's like they added M. Night Shyamalan to their writer's circle.
Every season of Supernatural has had a meta-plot, a guiding hand throughout the course of the episodic events. It has been different in each season, and each season has a different feel because of it. Season 1 focused on the brothers doing their thing as hunters, alone except for each other, as they search for their Dad. A hint of the theme was mentioned each episode, but only three episodes in the whole season even dealt with this plot (and I am stretching on one of them). 2.5/22
Season 2 delved deeper into some setup that had been thrown around in Season 1, with Sam's strange psychic powers coming to the forefront of the metaplot. In the long run, the whole season was about Sam and the other Psychic Children, but instead of touching on it each episode, it devoted a certain number of episodes to furthering this plot, while still keeping the rest of the season episodic in nature. Overall, there were six episodes dealing with these themes, as well as a few episodes that dealt with themes from last season (and a few that were foreshadowing later events, like Houses of the Holy). 6/22
Season 3 is all about Dean, as at the end of Season 2, Dean sold his soul to bring Sam back to life. This is a very different metaplot, that even hinged on a Season 2 episode. It touched and drove EVERY episode of this season, which was a nice change, as the whole season was about different things, but they all tied into the metaplot seemlessly. Only two episodes truely were solely about this plot. 2/16
Season 4 ... started VERY strong, with Dean coming back from hell, saved by the Angels to do God's work. There are some GREAT episodes of Season 4, all of them dealing with Dean and Sam as they both changed because of the events between the two seasons. But after these past two weeks, things are getting out of hand. Including last Thursday's episode, there have been eight episodes that dealt with this plot either singlehandedly or worse (more on that in a minute.) 8/18!! That isn't even including a season finale yet!!
Then you have "It's a Terrible Life" - ha, ha, I get it, it is a play on that movie ... - and "The Monster at the End of this Book".
It's a Terrible Clique starts with the two brothers in very different life than the last episode, working for a computer company of some sort. Sam is a Tech guy, and Dean is one of the middle management types. Twists and turns reveal a ghost is forcing bad employees to be GREAT employees, so commited that after a single failed action for the company, like the computer freezing and losing a days work or forgeting a memo, they kill themselves. Sam and Dean, having no memory of their hunter lives, still are able to stop the ghost! It was a great episode ... until the last five minutes. There is a great recurring character that SHOULD have been the plot of this epiosde, the Trickster, from Season 2 and my favorite episode from Season 3. He is all about screwing with Sam, and this is what this episode did. Until the guy I thought was the Trickster killed himself, and even up until the last scene, I was sure that was gonna be the reveal. But what was the reveal? A fucking Angel, dicking around with Dean, since Dean had a terribly powerful and emotion scene about how he isn't strong enough to do what God wants him to. What the hell?! Why did this episode have to tie in to that plot line at ALL?! It could have stood on its own, especially after the involvement of the NEXT episode.
The Monster at the End of this Episode is a GREAT premise of meta-fiction. Sam and Dean find out that books have been written about their lives. Literally. Episode titles and straight out scenes, to the T. They track down the precognitive author, who in a bit of meta-fiction reveals that he never stopped writing, though the books stopped being published, and this is all currently happening as he wrote it. There are so many good things to say about this first part of the episode that it makes me EVEN MORE ANGRY THAT THE REST WAS TERRIBLE!
In a nice plot hole, the author shows the last chapter he wrote, that ends with Sam sleeping with Lilith, the big bad of this season and last. Come to find out, if only the precognitive author had seen ONE FUCKING SECOND LONGER, he would have seen Sam was luring her in to kill her. But nope, we needed worthless stupid conflict between the brothers.
Oh yeah, why is the author a pre-cog? Because he is a PROPHET FROM GOD WRITING THE "Winchester Gospels". What the fuck?! First off, the Gospels are the "Good News of CHRIST!" Jesus has to be in them for them to be Gospels! Secondly, WHY DID THIS HAVE TO GET TIED INTO THE PLOT?! Why couldn't this episode have stood on its own? Nope, we have to listen to Dickhead Angel as he tells the author/prophet that he has to keep writing, and isn't allowed to help Sam and Dean, and if he kills himself, the angels will just RESSURECT HIM AND FORCE HIM TO KEEP DOING IT!
Now, there is some great Castiel moments, who is the best thing to come out of this season - except for "Kneel before Todd!" - and the introduction of the idea of Archangels was intriguing, though it played out like a lame jury-rigged poor man's process earthquake with lights outside ...
So help me, if the rest of this season is going to keep forcing this dickhead Angel and these stupid plots into my face, I'm gonna drop the show entirely.
But this season, more recently these last two episodes, have been terrible. They both start out strong, with interesting themes, character developments, and progressions, until it comes to the climax, where it becomes just a hodge-podge of stupidity, a lack of understanding of Christian mythology (sidenote: yes, I said mytholgy; If you have a problem with that, then get over it, as I have an opinion on that), and just stupid "twists." It's like they added M. Night Shyamalan to their writer's circle.
Every season of Supernatural has had a meta-plot, a guiding hand throughout the course of the episodic events. It has been different in each season, and each season has a different feel because of it. Season 1 focused on the brothers doing their thing as hunters, alone except for each other, as they search for their Dad. A hint of the theme was mentioned each episode, but only three episodes in the whole season even dealt with this plot (and I am stretching on one of them). 2.5/22
Season 2 delved deeper into some setup that had been thrown around in Season 1, with Sam's strange psychic powers coming to the forefront of the metaplot. In the long run, the whole season was about Sam and the other Psychic Children, but instead of touching on it each episode, it devoted a certain number of episodes to furthering this plot, while still keeping the rest of the season episodic in nature. Overall, there were six episodes dealing with these themes, as well as a few episodes that dealt with themes from last season (and a few that were foreshadowing later events, like Houses of the Holy). 6/22
Season 3 is all about Dean, as at the end of Season 2, Dean sold his soul to bring Sam back to life. This is a very different metaplot, that even hinged on a Season 2 episode. It touched and drove EVERY episode of this season, which was a nice change, as the whole season was about different things, but they all tied into the metaplot seemlessly. Only two episodes truely were solely about this plot. 2/16
Season 4 ... started VERY strong, with Dean coming back from hell, saved by the Angels to do God's work. There are some GREAT episodes of Season 4, all of them dealing with Dean and Sam as they both changed because of the events between the two seasons. But after these past two weeks, things are getting out of hand. Including last Thursday's episode, there have been eight episodes that dealt with this plot either singlehandedly or worse (more on that in a minute.) 8/18!! That isn't even including a season finale yet!!
Then you have "It's a Terrible Life" - ha, ha, I get it, it is a play on that movie ... - and "The Monster at the End of this Book".
It's a Terrible Clique starts with the two brothers in very different life than the last episode, working for a computer company of some sort. Sam is a Tech guy, and Dean is one of the middle management types. Twists and turns reveal a ghost is forcing bad employees to be GREAT employees, so commited that after a single failed action for the company, like the computer freezing and losing a days work or forgeting a memo, they kill themselves. Sam and Dean, having no memory of their hunter lives, still are able to stop the ghost! It was a great episode ... until the last five minutes. There is a great recurring character that SHOULD have been the plot of this epiosde, the Trickster, from Season 2 and my favorite episode from Season 3. He is all about screwing with Sam, and this is what this episode did. Until the guy I thought was the Trickster killed himself, and even up until the last scene, I was sure that was gonna be the reveal. But what was the reveal? A fucking Angel, dicking around with Dean, since Dean had a terribly powerful and emotion scene about how he isn't strong enough to do what God wants him to. What the hell?! Why did this episode have to tie in to that plot line at ALL?! It could have stood on its own, especially after the involvement of the NEXT episode.
The Monster at the End of this Episode is a GREAT premise of meta-fiction. Sam and Dean find out that books have been written about their lives. Literally. Episode titles and straight out scenes, to the T. They track down the precognitive author, who in a bit of meta-fiction reveals that he never stopped writing, though the books stopped being published, and this is all currently happening as he wrote it. There are so many good things to say about this first part of the episode that it makes me EVEN MORE ANGRY THAT THE REST WAS TERRIBLE!
In a nice plot hole, the author shows the last chapter he wrote, that ends with Sam sleeping with Lilith, the big bad of this season and last. Come to find out, if only the precognitive author had seen ONE FUCKING SECOND LONGER, he would have seen Sam was luring her in to kill her. But nope, we needed worthless stupid conflict between the brothers.
Oh yeah, why is the author a pre-cog? Because he is a PROPHET FROM GOD WRITING THE "Winchester Gospels". What the fuck?! First off, the Gospels are the "Good News of CHRIST!" Jesus has to be in them for them to be Gospels! Secondly, WHY DID THIS HAVE TO GET TIED INTO THE PLOT?! Why couldn't this episode have stood on its own? Nope, we have to listen to Dickhead Angel as he tells the author/prophet that he has to keep writing, and isn't allowed to help Sam and Dean, and if he kills himself, the angels will just RESSURECT HIM AND FORCE HIM TO KEEP DOING IT!
Now, there is some great Castiel moments, who is the best thing to come out of this season - except for "Kneel before Todd!" - and the introduction of the idea of Archangels was intriguing, though it played out like a lame jury-rigged poor man's process earthquake with lights outside ...
So help me, if the rest of this season is going to keep forcing this dickhead Angel and these stupid plots into my face, I'm gonna drop the show entirely.
28.3.09
On Dollhouse
It is currently Saturday, right after 1. I have Dollhouse episode 7 cued up and waiting for me to watch it. And I realize just how much I've been wanting to watch this episode.
I've heard people complain about Dollhouse. It isn't your standard Joss Whedon show, it doesn't have a lot of the things that makes a Joss Whedon show his show. And I call bullshit on this. People complain about the lack of witty dialogue and 4th-wall-burning banter. Some crave the intense and twisty romantic entanglements of the main characters, which we are just barely seeing. Some even call him a hack because all the new characters are the same, or fill the same roles, as previous characters, the best and most distinctive one being the relationship of Echo and her handler Boyd as compared to Buffy and Giles, her watcher.
And I call bullshit.
None of those things are what make a "Joss Whedon show" a "Joss Whedon show." Those might be some of the things that tie together the three (and a half, if you include Dr. Horrible) shows we have seen, but there is something deeper to it. I am a writer. I am a creator. I look at things a lot harder, longer, and more theoretically than most. And I guarantee you, Joss Whedon does as well. Especially for his creation.
So, what makes Dollhouse a "Joss Whedon show?"
It is intensely character based. Or at least, it is finally turning that way. The show suffered from having to explain the world to its viewers. It is truely the viewers fault that the show was not immediately excessable. It is hard to jump into a show like this, and instead of doing it as the original intention was, to jump in with both feet and let those who could swim in the deep end of the show drown, and those who could drink it in deep, they took an easier approach with some shallow pool action.
I am not condemning this idea, nor am I condoning. I am a smarter viewer than average, and would have liked the jump-in approach, as I think it makes for a better story. But that is the past.
It is also intensely changing. Every episode matters, in the long run. Dollhouse had a VERY hard time making me believe this until episode 4. This is all one part of a bigger narrative. A bigger story, centered around our characters, specifically Ballard and Echo, and then rippling out from them to touch everyone else.
The world of Dollhouse has lots of rules. And more importantly, it has lots of rules that need to be broken, and our viewers need to know these. It wasn't truely until two episodes ago that I felt that the show started flourishing.
Rachel and I watch together, and as I read online and talk with her, it seems that I am the only person who really loves the character of Dominic, head of security. To me, this man is the most Joss-Whedon of the characters. He is dark, powerful, smart, and passionate about his own feelings. So much so that he would endanger his life, his company, and his mission to kill Echo when he thought he had a chance because he views her as a threat to his own life, company, and mission! I love the play, I love the actors portrayal, and I love the fact that he has been in every episode with a strong appearance and a strong role, yet is only a recurring character.
Actually, looking at the show now, the recurring characters ARE stronger characters at this point. Which is mind boggling from a show-watcher standpoint. I see the few characters who are getting regular billing, and find myself wanting to see more of Dominic, Dr. Sanders, and Millie (even though I hated her for SO long until last episode).
Man, last episode. I've told my friends, and now I tell you. If you do not jump on this show immediately, you will be lost. Not in the good way. Not even in the bad way. Just inexplicable and totally lost. Even if you can catch up and watch everything, you are missing the very important absorption time, especially after S01E06. Holy shit.
I ramble on and on, not making a lot of coherent progress from one point to another, to get to my main point. Dollhouse is definitively a Joss-Whedon show. And one all of you should be watching. Including me. Right now. Bye.
I've heard people complain about Dollhouse. It isn't your standard Joss Whedon show, it doesn't have a lot of the things that makes a Joss Whedon show his show. And I call bullshit on this. People complain about the lack of witty dialogue and 4th-wall-burning banter. Some crave the intense and twisty romantic entanglements of the main characters, which we are just barely seeing. Some even call him a hack because all the new characters are the same, or fill the same roles, as previous characters, the best and most distinctive one being the relationship of Echo and her handler Boyd as compared to Buffy and Giles, her watcher.
And I call bullshit.
None of those things are what make a "Joss Whedon show" a "Joss Whedon show." Those might be some of the things that tie together the three (and a half, if you include Dr. Horrible) shows we have seen, but there is something deeper to it. I am a writer. I am a creator. I look at things a lot harder, longer, and more theoretically than most. And I guarantee you, Joss Whedon does as well. Especially for his creation.
So, what makes Dollhouse a "Joss Whedon show?"
It is intensely character based. Or at least, it is finally turning that way. The show suffered from having to explain the world to its viewers. It is truely the viewers fault that the show was not immediately excessable. It is hard to jump into a show like this, and instead of doing it as the original intention was, to jump in with both feet and let those who could swim in the deep end of the show drown, and those who could drink it in deep, they took an easier approach with some shallow pool action.
I am not condemning this idea, nor am I condoning. I am a smarter viewer than average, and would have liked the jump-in approach, as I think it makes for a better story. But that is the past.
It is also intensely changing. Every episode matters, in the long run. Dollhouse had a VERY hard time making me believe this until episode 4. This is all one part of a bigger narrative. A bigger story, centered around our characters, specifically Ballard and Echo, and then rippling out from them to touch everyone else.
The world of Dollhouse has lots of rules. And more importantly, it has lots of rules that need to be broken, and our viewers need to know these. It wasn't truely until two episodes ago that I felt that the show started flourishing.
Rachel and I watch together, and as I read online and talk with her, it seems that I am the only person who really loves the character of Dominic, head of security. To me, this man is the most Joss-Whedon of the characters. He is dark, powerful, smart, and passionate about his own feelings. So much so that he would endanger his life, his company, and his mission to kill Echo when he thought he had a chance because he views her as a threat to his own life, company, and mission! I love the play, I love the actors portrayal, and I love the fact that he has been in every episode with a strong appearance and a strong role, yet is only a recurring character.
Actually, looking at the show now, the recurring characters ARE stronger characters at this point. Which is mind boggling from a show-watcher standpoint. I see the few characters who are getting regular billing, and find myself wanting to see more of Dominic, Dr. Sanders, and Millie (even though I hated her for SO long until last episode).
Man, last episode. I've told my friends, and now I tell you. If you do not jump on this show immediately, you will be lost. Not in the good way. Not even in the bad way. Just inexplicable and totally lost. Even if you can catch up and watch everything, you are missing the very important absorption time, especially after S01E06. Holy shit.
I ramble on and on, not making a lot of coherent progress from one point to another, to get to my main point. Dollhouse is definitively a Joss-Whedon show. And one all of you should be watching. Including me. Right now. Bye.
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