Tag: Joss Whedon (Page 9 of 10)

“Dollhouse” finally flicks the Awesome switch

I completely understand why my colleague John Paulsen bailed on “Dollhouse” earlier in the season. The show was running in place, a series of self-contained episodes with nothing hanging in the balance. The only takeaway from a couple of the shows was that the dolls were still remembering things after they had been wiped, and were keeping this a secret from their handlers and Topher. The subplot involving FBI Agent Paul Ballard seemed stuck as well. He knows the Dollhouse exists, but has neither the proof nor the support of the agency to pursue it. Yawn.

Then came last Friday’s episode, where “Dollhouse” creator Joss Whedon launched the show into space.

He first played with the idea that Echo, Victor and Sierra were engaged in a secret alliance with the news that Sierra had been having sex and was suddenly terrified of Victor. It doesn’t take long for Boyd, the Dixon to Echo’s Sydney Bristow, to realize that the perp is a fellow handler, and DeWitt gives the handler a choice: take out Mellie, the nosy neighbor of Agent Ballard who Knows Too Much, or get sent to the Attic. (Man, I can’t wait until they finally show us what that place looks like.) Ballard, who’s out getting takeout and realizes that Mellie is in danger, races back while making a call. We see Mellie’s phone ringing as the handler is slowly choking the life out of her. Then the answering machine picks up, and we hear…DeWitt. “There are three flowers in a vase. The third one is green.” Ta-da, instant can of whoopass. Mellie beats the snot out of the handler, killing him in seconds. Then DeWitt says, “There are three flowers in a vase. The third one is yellow.” Poof, she’s back to being “normal” Mellie.

Holy crap.

“Don’t arrest me yet. She hasn’t heard my bit about the KFC bowls, it kills ’em every time.”

This was awesome on a number of levels. For starters, I never suspected that Mellie was a doll. She doesn’t quite have the body type that the other dolls have, though that actually makes her a perfect choice for a role like this. Second of all, the dolls can be activated and deactivated by remote voice command? Again, holy crap. I’m assuming that the third flower in that metaphorical vase is red. What happens to a doll when she uses that line? Does it make them catatonic?

Whedon also pulled another neat trick in doing a story where someone uses the Dollhouse for harmless, and rather sweet, purposes. Patton Oswalt guest starred as an Internet millionaire who planned on surprising his wife with a brand new house, but she was killed in a car accident on her way to see it. So every year on the day of her death, he hires a doll to relive that moment that he never had with his wife. Awwwww, isn’t that cute? Gee, maybe the Dollhouse isn’t so bad after all, right? Mmmmm, wouldn’t go that far, but it does make the ethical aspects of programmable people slightly grayer than it would appear on the surface.

The episode’s Big Reveal, though, was the fact that there is a mole in the Dollhouse, and they used Echo to send a message to Agent Ballard that he has an ally on the inside. On the surface, it would appear that the only person with the ability to slip that kind of thing under Topher’s nose would be his underutilized assistant Ivy, but does she have access to enough information to bring the Dollhouse down, and would she have known that there are over 20 Dollhouses around the world? Doubtful, which is why my money is on Dr. Claire Saunders (my beloved Amy Acker) as the mole. She was horribly disfigured by Alpha, which gives her motive, and as their medical chief of staff, she would have access to lots of data. Plus, you have to know that Whedon isn’t going to recruit Acker for the show and then have her spend most of the time on the bench.

The problem with all this, of course, is that it’s possible Whedon waited too long to get the show rolling. The show isn’t cheap, and Fox certainly has it in its sights when time comes to trim the budget. It needs a huge spike in ratings — it actually needs a better time slot, but that’s another story — but will they get one? If Whedon delivers another episode as great as this one, that should be enough to rally the Browncoats into action. Stay tuned.

Baghead

Four struggling L.A. actors retreat to a mountain cabin to write themselves some work via a zero-budget screenplay, but things take a meta-not-quite-horror turn in the Duplass Brothers’ follow-up to their “mumblecore” festival circuit hit, “The Puffy Chair.” Billed as a kind of comedy-horror film, “Baghead” starts out strongly, poking knowledgeable fun at the indie film scene, but takes way too long developing the uninteresting tangle of relationships, real and imagined, between buddies Matt (Ross Partridge) and Chad (Steve Zissis) and their respective not-exactly-dates, Catherine (Elise Muller) and Michelle (the ultra-cute Greta Gurwig of “Hannah Takes the Stairs”). By the time a seriously tipsy Michelle thinks she’s dreamed of a creepy slasher with a bag over his head, and that becomes the subject of the screenplay the foursome imagines they might work on, we’ve lost a great deal of interest. Even when an actual dude with a lunch bag over his head starts appearing, the dramatic juices never really flow. While “Baghead” eventually regains some steam, it’s pretty much the opposite of scary – and I’m rather easily scared – and not even close to funny or compelling enough to rate a recommendation, despite a sweet-natured ending, some laughs early on, lots of good intentions, and some very decent performances. It might, however, make an interesting point of comparison when the possibly-meta super secret Joss Whedon/Drew Goddard collaboration, “The Cabin in the Woods,” comes out next year.

Click to buy “Baghead”

Season Pass Deleted: “Dollhouse”

I’m sorry. I can’t take it anymore.

I watched three full episodes of Joss Whedon’s “Dollhouse” and decided somewhere in the middle of the third episode that I couldn’t continue to watch the show. It didn’t help that the third episode had the dreaded troubled-pop-star-deals-with-stalker storyline, which has been done so many times before that it has become one of my biggest pet peeves. Bad stage production, bad singing, bad crowds…ugh.

The show has a solid premise — a business that rents out “dolls” which are programmed to suit the clients’ needs — and a pretty compelling macro storyline — a renegade doll on the loose and, separately, an FBI agent (Tahmoh Penikett) trying to find the dollhouse — but the week-to-week episodes just aren’t all that interesting. One week, the main character, Echo (Eliza Dushku) is an unconvincing kidnapping expert, the next she’s bait for a psychopath who likes to hunt humans. And last week she was a sassy backup singer who said things like, “You’re not okay…okay?”

Mind you, this is coming from a fan of Whedon’s work with “Buffy, the Vampire Slayer,” “Angel” and “Firefly.” I was really rooting for this show to work, but for whatever reason — suspect acting, sketchy writing, poor continuity — it just doesn’t.

Friday night — where good shows go to die

In theory, Fox had a solid idea. Pair Joss Whedon’s new hour-long drama, “Dollhouse,” with “Terminator: The Sarah Connor Chronicles” to create a male-skewing sci-fi block on Friday night. They’ve had success on Friday’s in the past with sci-fi; “The X-Files” flourished there (or at least paid for itself) for several years. But The Live Feed reports that ratings for both shows were a disappointment.

The series premiere of Joss Whedon’s “Dollhouse” was seen by 4.7 million viewers Friday night and garnered a 2.0 preliminary adults 18-49 rating and 6 share. It was beaten in the 9 p.m. hour by ABC’s “Supernanny” (6.1 million viewers, 2.2/7) and is the lowest-rated scripted series premiere on a major broadcast network this season aside from NBC’s now-defunct “Crusoe.”

“Dollhouse” was paired with the midseason return of “Terminator: The Sarah Connor Chronicles” (3.7 million, 1.3/5), which was shifted from its previous Monday post. “Terminator” came in third place in the hour and hit a series low (by like 27%). “Terminator” beat NBC’s “Howie Do It” (3.9 million, 1.2/4), but not by much. Both “Ghost Whisperer” (10.3 million, 2.4/8) and “Wife Swap” (4.3 million, 1.5/5) did better.

I thought “Dollhouse” had a pretty solid premiere, but I was by no means blown away. The premise is interesting — that there’s a business that can reprogram “dolls” to become whatever its clients need. In the premiere, Echo (Eliza Dushku), started out as a party girl meant to entertain a rich playboy, but was reprogrammed to become an expert in kidnapping scenarios. Dushku looks great in a dress, but was a little stiff when she was trying to convince the father of a kidnapped girl that she was the right person for the job. I’m not sure that she’s the right one to carry the series, though future episodes will decide this. Stepping back a bit, I’m not sure how some viewers may react to seeing this pretty girl having her brain wiped at least once per episode. If the heroine doesn’t have some consistent character traits week-to-week, she may be tough to relate to.

I’ve liked “Terminator” all along, and I’m surprised that it is struggling in the ratings. I suppose this has to do with the collective attention span of fans of the movie series. Maybe stringing out a serialized plot over 20+ episodes is just too slow of a pace for those that fell in love with the action-packed “Terminator” films. This is a perfect example of a series that should have a 13-episode season, like many of the series on HBO, Showtime, FX and TNT. Shorter seasons means a compact season-long story arc and no filler, which is the main reason that a series loses viewership. When people get bored they naturally move on.

Another Friday show that is dying a slow death is “Friday Night Lights.” It consistently scored in the 4.0-5.0 range in its first season, and that fell to the 3.0-4.0 range in its second foray. Now, after premiering on DirecTV this fall, the show is garnering ratings in the 2.2-2.8 range as NBC runs the episodes for the non-DirecTV folks. Is this enough to keep this stellar show on the air for another season? Only the big-wigs at DirecTV and NBC know for sure, but given the state of the economy, it would be surprising if it were granted a fourth season.

10 Minutes and 10 Questions with Christian Kane

Tonight brings the first of the two parts of the first-season finale of TNT’s “Leverage.” We’ve commented on the show in the past here on Premium Hollywood, but after a slight false start in the early days of the series, it’s become an enjoyable blend of action, drama, and comedy that allows the viewer to escape into a world where the little guy actually gets to win once in awhile. We had a chance to talk to Christian Kane, who plays the rough-and-tumble Eliot Spencer on the show, and quizzed him about how the show’s gone for him. (We also snuck in a quick “Angel” question and checked on the status of his music career, too.)

1. If you can approach “Leverage” as a viewer rather than a fan for a second, are you surprised that “Leverage” was able to find an audience? Because a lot of series are in, out, and done in just a couple of episodes, but you guys found an audience quickly.

Yeah, we did, man. Y’know, it’s always surprising to me what works and what doesn’t work. I mean, I can’t believe that some of the stuff that’s on right now is on, and I can’t believe that “Arrested Development” ever went off the air. (Laughs) But it wasn’t surprising to know the track record of the people behind it. I mean, it was Tim (Hutton)’s first series (since “Kidnapped”), and I felt comfortable with that, but also John Rogers is an unbelievable writer, and Dean Devlin has had unbelievable success in the entertainment world, so we came in with a couple of big guns pulled out, unlike maybe some of the other people. So I felt confident in that. And then I started watching, and I got more confident. But then I remembered that, with the economy the way it is and the way the entertainment business is going… (Laughs) …it got a little bit scary for awhile, y’know, because you start thinking of stuff. But then when I went back to the economy stuff, and I went, “Y’know what? In this day and age, when The Man is sticking it to everybody, I think people are really going to want to sit back on the couch and really be part of the team and watch some people go out and stick it back to The Man.”

2. The “Ocean’s Eleven” comparisons that were being thrown around in the beginning were obviously really, really apt. Do you think the series has found its own identity yet, or is it still finding it?

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