We finally enter the mysterious Attic - the secret vault where the Dollhouse keeps damaged actives and problematic employees unconscious and in a perpetual state of terror. Adelle has had Echo sent ...
Set after the events in Terminator 2: Judgment Day (1991), Sarah Connor and her son, John, try to stay under-the-radar from the government, as they plot to destroy the computer network, Skynet, in hopes of preventing Armageddon.
Five hundred years in the future, a renegade crew aboard a small spacecraft tries to survive as they travel the unknown parts of the galaxy and evade warring factions as well as authority agents out to get them.
A U.S. Marshall becomes the sheriff of a remote cozy little Northwestern town of Eureka where the best minds in the US have secretly been tucked away to build futuristic inventions for the government which often go disastrously wrong.
A shadowy organization uses mind-wiped humans known technically as "actives" and colloquially as "dolls" who are imprinted with false memories and specialized skills for various tasks on behalf of paying clients. When they are not on assignments, they live in an underground "Dollhouse", a facility that protects and provides for their needs, including food, exercise and sleeping pods little bigger than coffins. One of the dolls, a young woman called Echo by her handlers, is slowly becoming aware of herself and what is going on. Meanwhile, at least two different people on the outside are trying to bring down the Dollhouse, one by finding Echo and the other by using her.Written by
It's Whedon having done what he does at least as well as he's ever done it
I loved Dollhouse. The key to a thing like this is to recognize what Whedon does: He takes a sci-fi concept that may seem hackneyed, right out of the gate. In this case (no spoiler, here), the concept is one of there being a secret facility where operatives are programmed to do the bidding of hyper-well-heeled clients.
But what he does is nothing short of miraculous: He charges each installment's variation on the concept with fantastic creative thought and incisive script treatment. He artfully strives to make you believe that the premise is immanent, and I find myself enjoyably going along for each and every ride.
The production work is wonderful, by which I mean it really *is* a wonder to behold; for example, the production cleverly imbues the representation of the underground facility with a sense of awesome, vast space; like a kind of secular cathedral. Add to this the fact that each show deploys the operatives in some action-packed (and usually psychically potent) outer-world scenario, and it adds to the impression one gets that production spared no expense to convey rich, ever-morphing dramatic landscapes.
Why the missing star (9 vs. 10)? It's not perfect. Nothing ever is. For example, the side story with the obsessed FBI agent pursuing this "cold" mythic lead sometimes feels a little gimmicky--gotta have "one of those", doncha know?
But. If you've enjoyed Whedon's work in the past and haven't yet checked out Dollhouse... you certainly ought to give it a whorl.
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