Dollhouse: With Your Life

Raked would highly suggest you not read this post unless you’ve seen the penultimate episode of Dollhouse. She’s is still mourning the loss of her show–and a certain favorite character–and she’s not holding back.

DOLLHOUSE: 2.12 “The Hollow Men”

With one episode left and last week’s incredible cliffhanger, you knew this episode would be big. And with Joss Whedon manning the ship, you knew there’d be some carnage before it sailed off into the sunset.

This week we said good-bye to two of our favorites. If you’ll notice in my first line, I call attention to one of them. And I’ll get to that right…now.

I miss Boyd. And you know, after first I thought his demise was just too fast. How could we have seen him develop as the big bad in just one episode? Well, a cliffhanger and one episode. We didn’t get to see it enough. We didn’t get to see him turn as evil as the founder of Rossum really should be!

But then, I realized, that was the point. As the viewer, we were seeing Boyd pretty much as Echo was seeing him. We trusted him. We loved him. How could we suddenly believe that he was the evil one behind the Dollhouse? How could his intentions be less than moral?

It was a sense of disbelieving. We still loved him, even as he was turned to a doll and handed the grenade. We didn’t want him to die. Certainly not in an innocent, clean state. It just made it that much harder to watch. We certainly didn’t feel righteous or happy with his death. It hurt us just as much as it hurt Echo.

But what about Mellie?

Well, to be honest, I wasn’t surprised. We were given that hint in “Epitaph One” that something bad happens to November. I didn’t figure she’d make it out alive.

For some reason, I thought that when they had programmed her as Mellie, they would have removed her sleeper status. Clearly, they did not. But do I really think that Mellie would have had the strength to fight through the sleeper? I don’t think so. But she did, nonetheless, and clearly, she couldn’t handle it. It’s actually interesting to think about how Whiskey handled her discovery that she was a doll and the way that Mellie handled it. Very different. But both very conflicted.

Don’t get me wrong. Mellie’s death was still sad and I’ll miss her. I just was less surprised. And the setup that Ballard thought Adelle was at the right hand of Rossum? That was just fantastic.

Ultimately, I don’t know what’s next. I liked that we finally know why Caroline was picked. I still fully expect some secrets and shockers in the next episode. But honestly, this one was a hard one to watch. I’m going to miss Boyd. I still do. I don’t like that he’s gone.

So what do you think will happen in our final episode of Dollhouse? Do you have predictions? Anyone you think will (or won’t) make it through?

I’m not sure how much more I can take. And now I’m pouting…why does it have to end? I mainly mean the show here, but now that I’m thinking about it, doesn’t it scare you a bit? The idea of a Brainpocolypse?

I guess we’ll just have to see in a couple weeks

Dollhouse: He’s paid not to look surprised.

KT’s mind has been blown, though happily in a less messy way than Bennett’s.

DOLLHOUSE:  2.11 “Getting Closer”

Holy cow.  This year, everything I thought I knew about the Dollhouse has been turned on its head.  And yet, so much of the episode seemed like the logical continuation to what came before.

Last spring, we saw Caroline sneak into a Rossum-affiliated lab as an animal rights activist and come out knowing that Rossum is guilty of more than just animal testing.  I guessed at the time that there was a gap between those events and the scene at the beginning of “Ghost,” in which Caroline reluctantly signs Adelle’s contract.  Now we see that there was a significant gap:  Caroline had time to force a horny security guard help her break into Adelle’s office, become friends and roommates with Bennett Halverson, and plan a major operation involving explosives (which implies a few things too, since in “Echoes,” Caroline didn’t strike me as someone who knew about bombs).  I had been really curious about that gap, so I’m glad we got to see what she was up to.

I suppose it goes with the territory (“ack, our show’s just been cancelled and we have to wrap things up!”), but there’s something very weird about Adelle’s position — the extreme urgency of declaring war on Rossum after finding out that civilization will fall due to schematics she offered up on a silver platter.  Everything escalated so quickly, there was barely time to take it all in. (And yet, the episode was filled with slow, character driven scenes — more on that later.)

I’m about to start a full re-watch of the series, and something I want to look for is Adelle’s track record of bad decisions (or at least, “bad” in the eyes of her bosses).  She appears super-confident and super-competent, but was getting Caroline back so urgent that they had to kidnap Bennett Halverson?  After all, she put Echo in the Attic just to dig around for information, with no guarantee that Echo would figure out how to escape or how quickly she might manage it.  Surely there might have been more subtle ways of getting her help, ways that wouldn’t lead to Rossum soldiers flooding into the Dollhouse.

Except that maybe they would, since it seems Boyd (Boyd!) is the head of Rossum Corporation.  That was the reveal that completely blew my mind, but now my question is, how much power does he really have?  Is he on the same page with board members like Mr. Ambrose, or is he at odds with some of them?  The latter seems likely:  since he killed the soldier threatening Topher and Echo, I assume he was not the one who called the forces in.  But who knows.

Throughout the series, Boyd has been particularly concerned for Echo and interested in her development.  Was it her potential that drew him to take the handler job, or has he been grooming her for something ever since Caroline blew up the Rossum building in Tucson?  Was she meant to be a special project for Rossum (to be useful or profitable), or as something to use against his enemies within the company.

(Speaking of Tucson, isn’t it awfully convenient that Adelle was in town when Caroline made her move?  And why exactly did Adelle have files on Caroline and Bennett in her office at that time? — I’d expect that information to be stored at Rossum HQ, not on paper in every ‘House.  Odd.)

But as fascinating as the plot twists were, the most beautiful moments were the slow, character driven ones.  The brilliant, bizarre romance of Bennett and Topher (with the inevitable Whedon ending).  The wrenching “Epitaph One” scene between Claire and Boyd.  The reveal of what Paul has lost.   Topher starting to fall apart, yet finally recognizing Ivy for her talents.  And as a member of the church of Firefly, I loved Caroline’s comment early in the episode that Bennett could probably kill someone with her brain.

Clearly, it’s going to be a wild ride to the finale and one that will put our characters through the wringer.  I’m only sad that it has to end!

Raked’s TV Top Ten List of the Decade

We’re signing off 2009 tonight, and we’re bringing in a new user: 2010. We’re not just ending a year but a decade this time (though some of you historian/mathematician types might disagree), so in honor of that, I’m posting this blog in honor of the best things about TV of the decade.

I’ve sorted my thoughts out as general ideas that seemed to have grown in the past ten years (though, to be fair, more so in the last five since my memory is rusty). So here goes:

Raked’s TV Top Ten List of 2000s (in no particular order):

1. Creativity: Sure, all our hopes and dreams get dashed when our favorite shows get canceled, but you’ve got to give it up for the creators of series that truly incorporate a distinctive idea in the show, moving beyond the normal ER drama or procedural. Think Pushing Daisies, Eli Stone, and even our favorite sci-fi shows.

2. Music: Note: This is music, not montages. I don’t know the exact year that the WB started the trend of showing which songs were played in the episode, but it’s certainly grown since then. Now music plays a huge part of television. There are certainly times that I think of a show when a song plays on the radio. I attribute most of this to Scrubs, as that show certainly brings a lot of fantastic music to plot.

3. Musicals: Ok, so most of you hated them. But some were fun! Look at Buffy and Scrubs. They’re kinda weird, but they’re rather funky. I enjoyed. And this naturally brings me to…

4. Web Series: One of the newer innovations to television, and all resting on the wonderful series that is Dr. Horrible’s Sing-Along Blog. Plus, you’ve got The Guild, which I was introduced to over Christmas and thoroughly enjoyed, and it’s a whole new way to watch TV. All because of…

5. The Writers’ Strike: I’m sure most of you hate me for putting this on the top ten list, but honestly, it was a defining time for TV. Viewers finally noticed that TV goes beyond the pretty faces on the screen and there were smart people behind it. Plus, I got to meet Joss Whedon at one of the rallies.

6. The Middle Tier: Ok, I know that most of you see the cancellations of the series in the 2000s, but what about the middle shows that stuck around? I’m always impressed with this story of One Tree Hill, where it was never really huge, but it got enough viewers to have the freedom to stay on-air and do what it wants. Now it’s a wacky, popular show that for some reason I’m still watching. And you know it’s not the only one.

7. Cable Series: First, it was the HBO and Showtime series, and now we’ve got TNT, TBS, and USA. Don’t even forget the cable network that brings you Mad Men. These award-winning shows are coming from somewhere beyond our typical networks, which has really caused a shift in recent years. And some damn good television!

8. Neil Patrick Harris: Is it fair to put a person on the top ten list? Honestly, somehow in the past few years, he’s gone from long-gone child actor to one of the most entertaining. Heck, he’s even made us like musicals. I could say that he’s lengen–wait for it…

9. Fun Add-Ons: Dary. In the fun tribute to NPH, let’s think of the web add-ons to series. I’m not thinking merchandise, but instead, the viral things on the web that are in conjunction with shows. Can anyone say How I Met Your Mother? I don’t know how many external websites that show has now. Plus, think Big Bang and the Penny Blossoms website. Oh yeah, it’s out there.

10. Fan Support: I did leave this one for last because it did seem like a big one. But if you start with Jericho move through Chuck and land in the Dollhouse, you know what I mean. Fans just don’t give up anymore–and that’s a good thing.

So there’s my list. What did I miss? Let me know in the comments.

Dollhouse: The truth about Senator Perrin

KT wants active politicians, but not quite like this…

DOLLHOUSE:  2.05 “The Public Eye”
DOLLHOUSE:  2.06 “The Left Hand”

I’m going to assume that most of you watched these two back to back, like I did, and treat them as a unit — ’cause if I try too hard to pick apart what happened in the each half, I’ll probably confuse us all. So!  Deep breath.

Espionage.  I love complex plots, and I love twists, and this one’s a doozy.  Rossum’s plan seems to be to get Senator Perrin in place, get him to investigate Rossum and the Dollhouse, then clear Rossum of all charges, having gained the reputation and high profile status that in future will make him able to push legislation that will favor Rossum — possibly even able to make a bid for the presidency.  Eek.

And despite the best efforts of a whole bunch of people, I think that’s generally what we saw.  By denouncing Madeleine Costley as a mental patient and the Dollhouse as a conspiracy of Rossum’s competitors, Perrin becomes the clever investigator who figured things out and Rossum is seen as the victim of slander.  Wow.

The peek into Rossum and Dollhouse’s internal politicking is fascinating and a little bit intoxicating with the wide open spaces of what we don’t know:  goals, protocols, past relationships.  It becomes very clear that there are some serious trust issues within the organization.  If Rossum’s Mr. Harding had trusted Adelle with even a portion of the truth, she and the rest of the LA Dolhouse would have left well enough alone.  If she had not clashed with Mr. Harding in “Belonging” over Sierra, Adelle might have trusted him and left well enough alone.  I love how such a self-contained episode as “Belonging” sets off a big chain of events here.

The effect is to create a tussle between the LA Dollhouse and the Washington, D.C. Dollhouse — the latter still trusts Rossum, the former doesn’t (at least at the moment, and snippets of “Epitaph One” suggest that this trend will continue).  The rivalry between the Houses and the immediate antagonism between Adelle and her D.C. counterpart makes me wonder how much of that is corporate culture and how much might be the result of past dealings between the two.

As usual, Echo and Ballard are wild cards.  By the end Ballard is entirely AWOL, and Echo’s statement about her bad guys being less bad than Daniel Perrin’s bad guys is as close as she comes to loyalty.  After a lot of running around, we leave her wandering the streets of D.C. without her GPS chip.  So Adelle thinks Echo can practically handle herself?  That went well.  As we well know, Sierra and Madeleine are not the only dolls Adelle has a soft spot for.

[More dolls and geniuses after the jump!] Continue reading

It’s official: FOX cancels ‘Dollhouse’

It’s not that it’s a huge surprise, just a huge disappointment. It’s true: Today is the day that FOX officially axed the sophomore series, wiping its hands of the series after it finishes its 13-episode run.

To be fair, at least it’s allowing Joss to finish up the series in some sort of fashion. According to the article:

The sci-fi series, which is filming episode 11, is expected to finish its 13-episode order, and Whedon is expected to give the show a proper ending.

But it’s still unfair to know that we’ll really not get to see what led us from the beginning to “Epitaph One”–at least not in the detailed, elongated time that it should.

And again, I’m not surprised. Well, I’m surprised that it was announced now, but after the show was pushed away from November sweeps, it didn’t surprise me that the show would eventually be pushed out the door. Plus, with the comment that the show was only finishing its run because the bossman at FOX was afraid of the fans, well, that certainly didn’t help (though it did make me laugh).

But I am disappointed. The show really hit its stride mid-last season, and this season it’s been better than ever, as the latest Sierra-centric episode showed us. We were finally seeing where the show could go and how it could develop. Echo was finally more than what she seemed (which was the big complaint of season one), and I was all amped up to see what would become of Whiskey, aka Dr. Saunders, when she returned to the Dollhouse.

The characters alone kept me coming back. Boyd was probably my favorite, and even Adelle was starting to develop into areas yet unseen. And the shades of gray that were the Dollhouse’s morality just became more and more complex the more we got into it this season. God forbid we keep a show that made you think.

But there’s still time to ask the morality questions and to even see what happens to our favorite characters. We’ve only seen half of the season, so there is a little more time to enjoy it. So tune back in on December 4. To say good-bye and to appreciate when good television was on the air.

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Update: This is probably the most heartbreaking part of it all. Dichen Lachman‘s latest tweet:

Feel sad though. Joss told us this morning.

Another update: Joss Whedon’s response. Key phrase:

By the time the last episode airs, you’ll know what my next project is.

That’s tantalizing, right?

Character Deaths on TV

Please note this might include possible spoilers for shows that you haven’t seen before–both past and present shows.

The most recent episode of The Vampire Diaries has really caused a lot of chat around the web about the freshman series. And honestly, who can blame them. To kill of a character that was in the prime of a storyline takes guts. And apparently executive producer Kevin Williamson has them.

In a recent interview about the show, Williamson said the following:

No one’s safe on this show. We’ve reached the point when we’re watching TV that there’s no jeopardy, no risk, no stakes, when we know our lead characters aren’t going to be killed. Well, that’s not true on this show. I’m starting with the supporting characters and I’m working my way in. Everyone’s going to die on this show. This is a show where characters you love may die, and it’ll be unexpected and shocking, so get ready for it. It’s as simple as that. And [Vicki] was the first casualty.

I love it. What balls! And honestly, I feel like that’s the failure of so many shows: the fact that they’re afraid to do anything to lead characters.

It’s not that I’m a fan of aimless death of characters. Without a purpose, there’s no reason to do it. Or, on the other hand, if it’s just a publicity stunt, that’s a waste of a viewer’s time (and usually, not as big as you’d think).

From someone who’s a fan of Joss Whedon’s work, there’s clearly a bias on my end toward character death. He knew how to do it, when to do it, and how to do it with the most emotion involved possible. Taking the death of Tara McClay alone–it was a heartbreaking moment that really turned the character of Willow. Right as we were growing more and more attached to Tara overall.

And then there was Doyle from Angel, another risky move by a freshman series. But without his death, who’s to say that Cordelia’s story would have progressed in the way it did. No visions? Plus, Whedon took the extra risk: to kill off a new character–one who’s name was recognizable from Roseanne fame–only a few episodes in. Sound familiar, Vampire Diaries?

I feel like that’s even more of the struggle. It’s one thing to kill someone off, but what if they’re someone that people love? Well, that just makes that much more of an impact.

No, I mean the actor? What if people love the actor?

Welcome to Heroes. Heroes made a great move by creating an ensemble cast filled with new names and famous ones. The problem is, they won’t get rid of any of them. Sure, there’s a death this year, and there have been before. But no one ever leaves. Now the show is more unruly than ever before!

The problem is, some people think a show is quality because of its actors. In some sense, it is. But there are also directors, writers, producers–and entire treasure trove of people that come together to watch a show. Sure, actors might bring a viewer in, but substance keeps them watching. I didn’t stop watching Joan of Arcadia because they killed off Judith. I didn’t stop watching Tru Calling because they killed off Luc. I kept watching because I knew something must be coming that made that death worth it.

And House? Having a doctor commit suicide when you didn’t even know something was wrong gave the show the turning point it needed to get House as a character out of his rut and developing as a person all over again.

So yes, I’m a fan of character deaths, and I adore that Vampire Diaries has jumped in with both feet, knowing that they’ll risk it all. They’ll risk characters lives. It’s a dark show. They should! And Williamson has a point: If you can’t be scared for the people you care about, how can you be invested in a show like this? Something has to be at stake.

Pardon the pun.

Dollhouse: Amoral Consequences

Raked and KT take on this week’s big episode of Dollhouse–before the month-long break. Read Raked’s thoughts below, and KT’s over here.

DOLLHOUSE: 2.04 “Belonging”

I knew this would be a big, Sierra-centric episode. And while I thought that every big episode needed to be written by the Joss man himself, this one was actually written by Jed Whedon and Maurissa Tancharoen of Dr. Horrible fame. And I must say, I loved it.

Character development alone set this episode above the rest. What made it that much more effective was that it wasn’t Echo we were discovering more about. It wasn’t Ballard (in fact, he wasn’t even in the episode). It was Sierra. It was Topher. It was even Boyd.

I think Topher is the “it” character of the season. After knowing his ultimate future in “Epitaph One,” he’s certainly been the character I’ve been most interested in this season. And here’s an episode that first introduces us to the inner workings of him.

Adelle was right. Topher has no morals. The dolls are his playthings and as long as they stay in good shape, he’s happy. We’ve never considered that he’s cared about any of them–we haven’t even thought that he really felt like he was helping any of them. It’s all just been fun and a cool job. That’s it.

So discovering that he felt that he was helping Sierra, well, that was new. Now, looking at the excitement in his eyes, you knew that part of it was due to the fact that he’d have a challenge: wiping clean a broken brain. But in the end, he thought he was helping.

Something in him told him that he needed to continue to help Sierra. Which is why he gave her Priya’s wipe.

Now, you knew as she entered the house that something bad would happen. Either Nolan would die or something so severe would happen to Sierra that Topher would be affected. Either way, Sierra would be sent back to the Dollhouse (possibly, to heal from her bloody wounds), and Nolan would be out of the picture (in prison or death).

And what happened? Priya killed Nolan. It was interesting to see that Boyd was the one to save the day, but despite all that, it was Topher I was watching. It wasn’t just that he was stuck in a terrible situation, dissecting a body to disintegrate and hide. Piece by piece, he was seeing what his actions caused. It was horrifying.

I think this was really an episode that sets the stage for his ultimate downfall. I wonder what it would have been like to see this episode having not seen “Epitaph One.” Would I have noticed how his character is changing? Would it have been that much more heartbreaking and destructive?

While sure, there were some weaker moments in this episode (say, Echo’s characterization, even though, yes, it moved plot), it certainly was a strong one overall in my eye. I can only hope it keeps the viewers’ attention until December 4, when the show returns with new episodes.

Dollhouse: Begin at the very beginning

KT and Raked take a look at the unaired pilot. Read Raked’s thoughts here. KT’s are below.

DOLLHOUSE:  1.00 “Echo”

Ultimately, I think the message here is that Fox should trust the Joss-man.

I’m not here to bash Fox today.  They’ve given Dollhouse a second season, and Dog-willing, they’ll air the whole season.  But I do think that starting the series with “Echo” would have worked just as well as starting with “Ghost.”  In some cases, I think it would have gone over better and I’d love to harness the Twilight Zone long enough to see Dollhouse‘s ratings in a started-with-“Echo” universe.

This being not-the-Twilight Zone, that’s all a bit academic, but I do find it interesting to compare how exposition is parceled out in “Echo” versus in “Ghost.”

In some respects, “Echo” is pleasantly straightforward.  Echo herself doesn’t even glitch — which happens in so many early episodes that viewers were left wondering how the Dollhouse didn’t have a lot of angry clients on their hands.  We learn straight-up how the technology works, how the procedure works, how much privacy the clients typically are given (the last is something we were left wondering about; in fact, was this ever explained?), and we see a range of different engagements — romance, ass-kicking, altruistic, and espionage.  For that matter, we actually got the explanation about altruistic engagements, something else that confused us for several episodes last spring.  And where Paul Ballard sticks out, sore thumb style in the first five episodes, here he’s clearly in the same show as the Dollhouse crew and they clearly know he’s on their trail.  All in all, “Echo” is a really nice introduction piece.

That said, I did enjoy “Ghost” when it aired.  I don’t think it’s one of the show’s strongest episodes, nor  is it one of my favorites.  But it did its job and left me wanting more.  Plus, it did offer some things “Echo” doesn’t.  I like that the writers decided to introduce Sierra at the beginning of her contract.  I really liked the opening scene of “Ghost” between Caroline and Adelle.  Although later episodes have not put Caroline among my favorite characters, I think that was a compelling opener and good thematic fit for an episode called “Ghost.”

Speaking of ghosts, I love the way that Topher spends “Echo” referring to Dr. Saunders as “the phantom.”  She is, in a way, the Phantom of the Dollhouse:  a lonely person with a scarred face and a scarred psyche who never leaves the place.  But it’s just as much an expression of Topher’s uneasiness over creating a coworker, over creating someone who doesn’t like him, over using a dead friend’s name for this creepy new creation.

I have trouble describing the levels on which the Topher/Saunders scene fascinates me.  I love watching the awkwardness between them, knowing that he knows and I know, but she doesn’t.  I love imagining how I would have pondered this scene if he know, but she and I didn’t know.  The scene is electric by itself, but knowing how Saunders will struggle in “Vows,” it’s all the more compelling.

If you’ve seen season 1 of Dollhouse, it won’t take you long to notice that bits and pieces of “Echo” were moved into other episodes.  One that I particularly noticed was Ballard’s meeting with Victor at a rooftop party, followed by Echo’s lunch with Sierra and (gasp!) Victor, and Topher’s comment that they were becoming “a little bit bison” — all of that (I think) moved to “Grey Hour.”

Not only were scenes pulled into later episodes, but so were a couple of actors.  The girl who played the abused addict came back in “Omega” to play Wendy (and, after a fashion, Caroline).  And the bride whose ex brought Echo as his “and guest” reappeared just last week as Cindy, Senator Perrin’s wife.  Nice of the Dollhouse team to invite these two back when their episode got canned.

Minor quibble:  I wish they hadn’t named this episode “Echo” and then titled episode 7 “Echoes.”  Come on, guys.  In the age of the internet, you gotta know even an unaired pilot isn’t just going to disappear into the ether.

The Guild: A little web series that could

KT puts her nerd status on display again.

Doctor Horrible’s Sing-Along Blog has probably gotten more buzz than any other web series, but it wasn’t created in a vacuum.  Among the Whedon brothers’ inspiration for the show was a modest little web series called The Guild, created by, written by, and starring Felicia Day.

The Guild has grown to be something of a phenomena itself, at least in certain quarters of the internet.  Their first season (like most fledgling shows) was a little bumpy, but since then Day and her collaborators have fine-tuned the writing and production and gotten backing from Sprint and distribution from Microsoft.  New episodes are first made available through the Xbox and Zune, if you happen to own either of those devices, then are hosted on  Eventually you can also stream them at or YouTube.  A little confusing, but it works.

The web series is starting its third season this fall, and it has found its wings in a big way.  It follows six members of a guild — people who get together online to play an MMORPG (that’s “massively multi-player online role-playing game”) of the sort that sounds a lot like World of Warcraft, but is always carefully referred to as “The Game.”  Anyway, that’s the only link these people have to each other, and until recently (meaning season 1), they had never met in person.  Some of the characters still think that was a bad idea.  And though each season consists of only ten or twelve short episodes, each character has a storyline and a very distinct personality.  Humor is definitely a key component, and season two even has some action when Codex meets one of her neighbors, who is a professional stunt man.

Yes, Codex.  All of the character are only ever referred to by the names of their characters in The Game.  We do learn Codex’s real name — Sydney, I think — but that’s it.

Season three opens a day or two after the disastrous party from the season two finale and Codex is still freezing her brain over a pint of “self-pity ice cream.”  She’s fairly cheerful, though — she’s the sort of person who feels the need to fix everyone else’s problems, and she’s sure that the imminent release of an expansion to their game will patch up everybody’s quarrels.  After all, she says, “it’s about the game, not each other.  Stupid humans.”  Adorable delivery.  Have I mentioned my girl-crush on Felicia Day?  Her video blog-style introductions are often my favorite part of the show.

Despite Codex’s optimism, new online quests and powers aren’t quite enough to make everyone forgive and forget as they all line up outside their local Game Stop.  Spirits sink further when a rival guild led by Wil Wheaton shows up and cuts ahead of them in line.  (Juvenile, yes, but in an amusingly over-the-top kind of way.)

By the end of episode 3.02, the conflict between the two guilds has solidified as the plot to watch this season.  And after Codex votes herself the new guild leader, Tinkerballa is seen flirting with Wheaton’s kilt-wearing character — I smell treachery in the air.  Should be fun!

[After the jump: a few last comments]

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It’s Summer-time in the ‘Dollhouse’

I know you all heard the rumors that Joss Whedon was trying to get Summer Glau to be in an episode of Dollhouse. And I’m sure a lot of your were all for it (after all, I was).

Well, Joss Whedon seems to have one-upped you. Not only is she appearing in an episode, but Summer Glau is joining the cast of Dollhouse as a recurring character. Summer will play Bennett, a Dollhouse employee who shares a secret past with Echo.

It looks like we’ve got a good number of badass yet talented brunettes in the cast now: Eliza Dushku, Amy Acker, Summer Glau. And those are just naming the obvious!

So what do you think? Are you ready to see Summer in Dollhouse? Are you disappointed she’s not a doll? Though, honestly, who’s really to say she’s not after we outed Whiskey…

Anyway, looks like we’ve got an exciting season ahead of us. Don’t forget, the new season starts on Friday, September 25, at 9:00. Take that, Friday night death slot.

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