2-13. Epitaph Two - The Return.

Readers of my reviews will note the lengthy (4+ years) gap between my review of The Hollow Men and this one. There's a simple explanation: I did watch Epitaph Two at the time, and wrote a little over half of the review. I intended to complete that review within a few days... And somehow just never got up the interest to actually do so.

I'm revisiting it now, mainly because it bothers me to leave this review blog one post short of completion. Most of what follows is a polish of what I wrote at the time, but it's also supplemented by my thoughts on the series today.

Note that the "Characters" section has been left out of this review.  That was the one section in which I had written virtually nothing four years ago... And I suspect a lack of ideas as to what to write about the characters in this episode was a large part of why I found myself unable to finish the review.

So with no further ado, I present... The semi-reconstructed, vaguely abridged, mildly touched-up Special Edition of my lost and incomplete Dollhouse review... Epitaph Two - The Return!


THE PLOT

Picking up where Epitaph One left off, we find Mag (Felicia Day), and the young girl imprinted with Echo's personality (Adair Tishler) finally reach their goal, and are united with the surviving Dollhouse crew. But things are far from over. In a recent raid to the Rossum headquarters of Neuropolis (formerly Tucson), Echo has discovered that Rossum is forcing Topher to build a new technology, one which will wipe the entire world in one blow. But Topher is putting his own spin on the assignment: Rather than wipe everyone, he is planning to adjust the tech so that it resets the original personality and memory of everyone who was ever wiped, putting an end to Rossum's "dolls" forever!

To achieve this, Echo and Adelle will need the help of their new refugees to guide them back to the Dollhouse. There, they can get the tech Topher needs, and wait underground so that their personalities are not reset along with the rest of the world's. However, not everyone making the trip has the same agenda. Echo may just be able to save the world - but doing so will come at a cost...


THOUGHTS

As the title implies, writers Maurissa Tancharoen and Jed Whedon return to the post-apocalyptic world of Epitaph One and, along with writer Andrew Chambliss, create an epilogue to the series. This might work better if they weren't burdened with having to salvage dropped threads from the somewhat botched finale that was The Hollow Men. Like too much of Season Two, it is so busy hitting obligatory plot notes that it never is able to match the haunting atmosphere of Epitaph One, which may well be my favorite Dollhouse episode.

With some distance from the series, I find myself wondering if it wasn't a bad creative decision to spend Season Two filling in the gaps between the "highlights" glimpsed in Epitaph One. Instead of chasing plot points, I think a Season Two that stuck with the post-apocalyptic world could have made for something atmospheric. It would have been a sharp break from what had been seen, but the gap between Season One and the apocalypse could have provided good opportunities for backstory as we revisited the characters now, without the obligation of connecting every single dot in 12 episodes.

Certainly, I found it interesting to revisit Harding and Ambrose, both of whom were largely forgotten by the last part of Season Two. These Rossum bigwigs have shuttered themselves up in one city, living a life of luxury among slaves. Even so, as Ambrose observes, they are themselves declining. They may be lords of a small section of the wasteland, but they actually had better lives before the fall... something Ambrose seems to be aware of, though Harding seems content enough with his lot.

The conclusion feels a touch overly-pat, but it does a better job of closing out the series than the rushed action movie heroics of The Hollow Men did. But revisiting it, I can't help but feel something more interesting lay in the shadows of the entire second season. I understand why many fans prefer Season Two, with its tightly-linked arc and twists and turns. But I preferred the atmosphere of the first season, which I felt all but vanished in the second. The need to cram too much story into too little time left it all feeling a bit rushed... Which is probably why, despite quite enjoying this episode, I just couldn't find the will to finish the review then.

So for the sake of completeness, here is my final Dollhouse review. It's a positive review, as it should be said was true of most of my reviews of the series... But that doesn't stop me from seeing the entire second season as a bit of a near-miss... Interesting, well-made and well-acted, but ultimately not as compelling as it feels like it should be.


Rating for Epitaph Two: 8/10.

Previous Episode: The Hollow Men

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2-12. The Hollow Men.

THE PLOT

After saving Topher's life, Langton reaches the rendezvous point with both the computer genius and Echo in tow. Then all the Los Angeles "conspirators" head off to Tucson, for the final confrontation with the Rossum Corporation and its mysterious leader.  But there's one final twist in store for all of them... a little something to remind them all that no one can truly be trusted!


CHARACTERS

Echo: Caroline is finally made part of Echo's composite, after two years of episodes, and... It's a non-event. Caroline does not appear to become in any way a dominant personality. Echo is exactly who she already was, just with a bit of new information. This is one of several frustrations about an episode that doesn't have time to do character when there's so much plot to get through.

The Security Chief: Langton insists that, even with Echo's mind scrambled, they still need to follow through with the plan to infiltrate Rossum's Tucson headquarters. He uses his knowledge to break himself, Topher, Ballard, and November out of the Rossum cell, allowing them to strike at the corporation from inside the belly of the beast. In private, he admits to Adelle that while he considers the Dollhouse staff as "family," he has never really liked nor respected Ballard and doesn't understand what Adelle saw in him.

The Genius: Topher really can't help himself when it comes to playing with gadgets, can he? In the middle of Rossum's lab, seeing his Apocalypse Weapon being mass produced, he knows with every fiber of his being that the right thing to do is to destroy it. But he also sees that the gadget doesn't work, and he recognizes why. He can fix it in ten minutes and, with no more than a few encouraging words to provide a rationalization for doing so, he honestly can't help himself. He just has to make the toy work, no matter how bad an idea he knows it is.

THOUGHTS

The Hollow Men is to Season Two what Omega was to Season One: The not-quite finale, which nevertheless wraps up most of the arc of this season. The war against Rossum builds to its climax here, as Echo, Adelle, and their group face off against the mysterious Rossum founders. It's all paced at lightning speed, with terrific performances. Harry Lennix, Amy Acker, and Miracle Laurie get the best moments, but everyone gets something to do. We even get a brief return of Enver Gjokaj's Topher impression, which injects a bit of humor into an otherwise all-out suspense episode.

While the pace and performances make this highly watchable, however, The Hollow Men is a disappointment.  In fact, this episode gets worse in my mind the more time I have to think about it. One issue is inevitable: Getting Closer delivered the series' single biggest twist. This episode sees that twist play out, but there simply aren't any surprises on the same level as the one that closed out the previous episode.

I also think it's a bit of a cheat. From the ending of Getting Closer, there were many possible paths to follow. Maybe the Rossum head had lost control of his company (to, say... Harding? Who, after much build-up this season, has barely even been mentioned the past few episodes), and was using Echo to bring things back under control? Maybe the Rossum head actually isn't the villain? Maybe there's some big plan in play?

Well, no. The Rossum head's just crazy. Nothing more to it than that. And as that character is revealed to be a lunatic, this episode becomes vastly less interesting. I know it's hard to wrap all of this plot up in 45 minutes. But there were a lot of pieces on the board that might have been used. Many of those pieces go unused and unmentioned, while the writers - and by the credits, I'd say this one was pretty much written by committee - don't even get the best use out of the pieces they bother to play with.

The Hollow Men is all plot, and I don't mean that in a good way. There's no time for characterization, or to linger on interesting little moments. The long-awaited scene in which Caroline is integrated into Echo comes to pass... and it's meaningless, as Echo remains indistinguishable from who she has been. Why would a moment that the series has been building toward since its first episode get such an absolute lack of acknowledgement? Because there's plot to get through, and no time to do anything save to get through it all.

I'll be interested to see how Epitaph Two ties it all together (if it does). But while The Hollow Men entertains, it leaves the viewer feeling hollow afterward.  Much like a fast food meal, it's reasonably fun to consume - but it suplies virtually no real nourishment.


Rating: 5/10.

Previous Episode: Getting Closer
Next Episode: Epitaph Two - The Return

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2-10. The Attic.

THE PLOT


Echo is in The Attic. This means that she is living a nightmare, repeating a hopeless scenario over and over again. But after a couple of loops, her composite mind notices the pattern, allowing her to break free. She discovers Laurence Dominic (Reed Diamond), her old nemesis who was sent to the Attic a year earlier. Dominic has also gained awareness of his situation - probably thanks to some NSA training - and has been fighting off a malevolent shadow that calls itself "Arcane," and which stalks and kills newcomers to The Attic.

Echo and Dominic team up to locate Victor and Sierra, to save them before Arcane can find them. But when they come face to face with Arcane, they learn more than they could have expected: About Rossum, and about the true nature of The Attic. This leads Echo to a desperate gamble, one which may enable her to take down Rossum - if it doesn't kill her first!


CHARACTERS

Echo: At this point, she seems to actively reject "Caroline" as her true identity. When a Rossum security man tells her that all Actives go by their "real names" in the Attic, she snaps back that her real name is Echo. She doesn't trust Dominic, recognizing him as she did even in her pre-aware state of early Season One: The enemy who was constantly trying to destroy her. But her mind is fully formed now, and she can recognize Dominic as something other than just being "bad." They make a good team, and Reed Diamond's performance brings out the best in Eliza Dushku's acting as well.

The Ice Queen: In the space of just a handful of episodes, Adelle has gone from being the person Topher most trusted to being "Darth Vader." Adelle's de-volution from icily pragmatic idealist to being simply cold and hard seems to be complete in this episode. As she wields the power of Rossum - quite literally the power of life and death - over Topher, Ivy, Langton, and finally Ballard, she seems truly, irredeemably cast in the role of "villain." A genuinely surprising end twist puts the new path of her character into a fuller context, while providing a hint of where both she and the show are going from here.

The Security Chief: Langton is as protective of Echo as a father of a daughter. With Echo taken away from him, he begins to skip work, arriving late, drinking. When Adelle confronts him about his feelings for Echo, he snaps at her that she "took her away from (him)!" He seems more inclined to confide in Topher now, less mocking of the idea of Topher as a man with a conscience, even as his trust in Adelle has been shattered.

The (Ex-) FBI Agent: Topher is able to revive Ballard, but only by taking something away from him so that other parts of his brain can fill in for those destroyed by Alpha. I doubt the science of "the wildcat play" would bear close scrutiny - but the idea that Ballard has been restored, but only by taking something unspecified away from him, is an interesting notion. And the warning that "sooner or later, he's going to figure out what's been taken away," is both intriguing and unsettling.


THOUGHTS

A funny thing happened with this particular Joss Whedon show. Joss Whedon ended up being only about an average (possibly even slightly below-par) writer for his own show. Meanwhile, the writing team of Maurissa Tanchauroen and Jed Whedon - his brother and his sister-in-law - announced themselves as the series' very best writers. They rounded off Season One with the magnificent Epitaph One. They wrote Belonging, the second season's only previous great episode. And they possibly top both of those previous achievements with The Attic, an episode which starts off good and then gets better and better and better as it goes.

The Attic is the strangest episode of Dollhouse yet. With most of the episode set inside Rossum's personal "Matrix," we get an episode rife with the logic of dreams and nightmares. A ladder to a roof leads Echo out of a fairy tale tree, which grows out of the Dollhouse's hardwood floor. A malevolent shadows seeks to assassinate dreamers, stalking them from the familiar confines of the Dollhouse to a paper-walled Japanese restaurant, to an Afghani war zone, to a post-apocalyptic hell. The imagery is vivid, sometimes stunning, and the script keeps all of the surreal nightmare tripping within a solid story structure, with the set pieces never getting away from a tightly controlled story. It works, the eerie nightmare aura bringing resonance to revelations about Rossum and the plot arc in such a way that it doesn't just feel like an episode there to "advance the plot" and nothing else (which I found to be the case with Stop-Loss).

The episode also features the welcome return of Reed Diamond's Laurence Dominic. Diamond's performance was a frequent highlight in the first season, and he and Amy Acker have both been sorely missed in Season Two. Here, Dominic is reinvented as a more heroic figure, though he retains enough of an edge not to feel like a completely different character. Diamond continues to exhibit a flair for deadpan comedy, with his reaction to a particularly gruesome discovery in the Japanese nightmare adding a darkly hilarious button to a particularly grisly moment.

The Dollhouse scenes work well, too, with just enough information withheld to make the ending a surprise without it coming completely out of left field. By showing us just a piece of Adelle's frosty interactions with her underlings, we are led to draw one conclusion... but when the truth is unveiled, we saw enough for the pieces to snap into place. Which is the way a twist should work, when it's executed right.


Rating: 10/10.  My favorite episode since Epitaph One.

Previous Episode: Stop-Loss
Next Episode: Getting Closer

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