Last night casa de TTMY wrapped up Joss Whedon’s Dollhouse.
When it was all said and done, the lady of the house and I sat together wondering why Dollhouse was canceled. Not really WHY, that’s always same reason. But why shows like Dollhouse can’t pull the necessary ratings to stay on network television.
Dollhouse suffered a too common fate for shows that engage creative story-telling around interesting questions in sci-fi worlds. The Caroline/Echo split and what makes a person a person is a brilliant premise for the show’s heart. What it means to create new technologies, and how one deals with making a discovery that could lead to the end of civilization? That’s a worthy weight to explore on television (especially if Fran Kranz is doing it). Evolution of technology in post-apocalyptic America accompanied by kick-ass fight scenes. What’s not to love?
Of particular fun was the doll-inspired cast giving outlandishly diverse performances. (Victor as Topher was phenomenal. As was every Victor personality. Enver Gjokaj should be everywhere, people!).
Perhaps audiences no longer have the patience to allow the unfolding of an elaborate and byzantine science-fiction plot over several seasons on network TV? Is that what cable is for now? With the exception of LOST its hard to recall a show that aired to conclusion that was as winding and intricately confusing in nature as Dollhouse.
Whatever it is, it’s a shame. Thank gods the world afforded the makers the time to bring Dollhouse around for a cohesive conclusion. One that was surprisingly satisfying, given the time-frame.
Anyway. I’m looking forward to writing about Dollhouse. Look for more here in the coming weeks.