Dollhouse / Sarah Connor

Okay, so I have now sat through nine episodes of Dollhouse with good grace, trying to trust in the usually brilliant Joss Whedon. After all, he created the generally superb Buffy, the fun Angel (which actually managed to make the hitherto dull character of Angel likeable and played off David Boreanz’s comic strengths, now used well in Bones), and the sublime Firefly. (Ah, Firefly and Serenity; I share xkcd’s obsession with thee, even though I believe you were derivative of my beloved Farscape.) And it stars Faith my favourite Vampire Slayer and Helo (okay, so I try not to think about BSG too much since the appalling – hock, spit! – finale, but I’ll always have a soft spot for Helo and Athena regardless of Ron Moore’s tripe ending).

And yet here I am, nine episodes in, and Dollhouse shows no signs of… well, being any good. I hear Alan Tudyk is to appear in the last episodes of the season, so I’m holding on for that, but really, what I don’t understand is this: how the hell did this get picked up for a second season by Fox while the excellent Sarah Connor Chronicles was cancelled? The first season of Sarah Connor walked all over Dollhouse with size five Terminator-ballerina boots, and more than earned my patience when I had to put up with a bit of a mediocre middle to the second season (more than pulling it back again for the end of the season). Dollhouse hasn’t earned such patience; I’m merely giving it an extended chance because it comes after Firefly.

Does it get any better? It’s difficult to care about “actives” who are essentially call girls, especially when all of the cast seem to be turning out to be actives. And yet an emotionless robot played by Summer Glau… Oy, Fox! Bring back TSCC!

And that is my Tuesday lament.