Joss Whedon's Got A New Show: Dollhouse
12-20-08, 02:03 AM
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From IGN:
From LATimes.com:
Originally Posted by Eric Goldman
Dollhouse: Advance Review
Our first impressions of the new Joss Whedon series.
So… I've seen the first episode of Joss Whedon's Dollhouse. Yes, the much anticipated, much discussed, much stressed over -- by Whedon fans nervous about network tampering -- series arrived on my desk yesterday.
As you may have read by now, Dollhouse tells the tale of Echo (Eliza Dushku), a young woman working (though some would use more damning words) for a mysterious company as an "Active." Her memories have essentially been wiped clean, leaving her in a simplistic, childlike state... until she gets an assignment, at which point she has a completely new identity and skill set imprinted upon her, as she temporarily becomes whomever the client wants or needs her to be for a given situation.
The show doesn't feel like anything Joss Whedon has done before, in ways both positive and negative. On one hand, it's great that the man who brought us such amazing television as Buffy the Vampire Slayer, Angel and Firefly (all among my very favorite TV shows) is creating another new world and a series that isn't directly evoking his earlier work or feeling like a simple copy of something he's done before. And there's no doubt he's come up with an idea that is noteworthy and raises lots of intriguing questions.
On the other hand, some small moments aside, the first episode – and note, this is the new first episode, replacing the earlier one which has been discarded – is surprisingly lacking when it comes to the trademark wit Whedon is known for. Even the most outwardly geeky character, Topher (Fran Kranz), has only some mildly amusing lines rather than anything all that funny or memorable, and he's the type of clever audience proxy and/or sarcasm supplier Whedon usually excels at.
There is definitely a strong concept at work here – In a nutshell, you have a show that feels like Alias meets The Matrix, which is a pretty cool combination. The idea that Echo and her fellow "actives" can have any identity and skill imprinted upon them means the show has tremendous opportunities as far as exploring very different scenarios and even delving into multiple genres, depending on what Echo is sent to do each week. Without getting specific, the two scenarios in the first episode do a good job showing how very different these situations can be, as one is basically about romance and excitement, while the other is truly about life or death.
Simply by virtue of the way he is investigating the rumors of "the Dollhouse" – the nickname given to the place where the actives live and are programmed – Tahmoh Penikett's FBI agent Paul Ballard feels a bit disconnected from the main story in the first episode, but that will no doubt change as time goes on. The always dependable Olivia Williams and Harry Lennix meanwhile quickly resonate as two of Echo's bosses, who have very different sensibilities regarding Echo and the other actives – and the morality of what they are doing.
There have been questions regarding Dushku, and if the actress – so often cast as the tough girl – is the right person to pull off a role that will presumably need to show a tremendous amount of range. The first episode leaves the answer to that question unclear. Certainly, Dushku seems a bit more at home in one of the personas (hint: it's the more lighthearted one) we see her playing than the other, but she also doesn't embarrass herself in the least in the other. Whedon is clearly going to ask a lot of her in the episodes to come, and as a longtime fan of Dushku (Faith ruled!), I'm definitely pulling for her.
The first episode lacked a certain energy Whedon's work usually has, and I felt myself thinking "this is interesting", without actually getting caught up in the story on a visceral level. It should be noted that Whedon has said that FOX has asked for the show to be more action-oriented, but that's not exactly the case in the pilot, which has thriller elements, but not much in the way of kicking ass – at least not from Echo as yet. That's not to say this (or any) show needs gun play and martial arts to be exciting, but there was a certain overly mellow tone to the entire episode that was surprising – one only need look at an episode like Buffy's "The Body" to see how much Whedon can do with dialogue and emotion alone.
FOX infamously demanded a new pilot for Firefly -- though Whedon is quick to point out that shooting a new first episode for Dollhouse was his suggestion this time -- and the result, "The Train Job" was one of the weaker episodes of that wonderful series and far from the best example of all Firefly could be. Still, it did have that pivotal moment where Malcolm Reynolds kicked a tough talking prisoner into an engine that made you sit up and go, "Oh yes, this is a Joss Whedon show alright!" Unfortunately, the Dollhouse pilot has no such moment, either in dialogue or action. It's certainly laying the foundation for something that can be quite compelling, but in and of itself, the first episode doesn't exactly grab hold in the manner I hoped for.
However, the circumstances under which this episode was made, as part of a decision to re-tool the series, have to be taken into account and I'm definitely curious where the series will go in future episodes. Whedon has proven his talent time and again his involvement is reason enough to make Dollhouse a show worth keeping on your radar… and your DVR settings.
http://tv.ign.com/articles/940/940128p1.html
Our first impressions of the new Joss Whedon series.
So… I've seen the first episode of Joss Whedon's Dollhouse. Yes, the much anticipated, much discussed, much stressed over -- by Whedon fans nervous about network tampering -- series arrived on my desk yesterday.
As you may have read by now, Dollhouse tells the tale of Echo (Eliza Dushku), a young woman working (though some would use more damning words) for a mysterious company as an "Active." Her memories have essentially been wiped clean, leaving her in a simplistic, childlike state... until she gets an assignment, at which point she has a completely new identity and skill set imprinted upon her, as she temporarily becomes whomever the client wants or needs her to be for a given situation.
The show doesn't feel like anything Joss Whedon has done before, in ways both positive and negative. On one hand, it's great that the man who brought us such amazing television as Buffy the Vampire Slayer, Angel and Firefly (all among my very favorite TV shows) is creating another new world and a series that isn't directly evoking his earlier work or feeling like a simple copy of something he's done before. And there's no doubt he's come up with an idea that is noteworthy and raises lots of intriguing questions.
On the other hand, some small moments aside, the first episode – and note, this is the new first episode, replacing the earlier one which has been discarded – is surprisingly lacking when it comes to the trademark wit Whedon is known for. Even the most outwardly geeky character, Topher (Fran Kranz), has only some mildly amusing lines rather than anything all that funny or memorable, and he's the type of clever audience proxy and/or sarcasm supplier Whedon usually excels at.
There is definitely a strong concept at work here – In a nutshell, you have a show that feels like Alias meets The Matrix, which is a pretty cool combination. The idea that Echo and her fellow "actives" can have any identity and skill imprinted upon them means the show has tremendous opportunities as far as exploring very different scenarios and even delving into multiple genres, depending on what Echo is sent to do each week. Without getting specific, the two scenarios in the first episode do a good job showing how very different these situations can be, as one is basically about romance and excitement, while the other is truly about life or death.
Simply by virtue of the way he is investigating the rumors of "the Dollhouse" – the nickname given to the place where the actives live and are programmed – Tahmoh Penikett's FBI agent Paul Ballard feels a bit disconnected from the main story in the first episode, but that will no doubt change as time goes on. The always dependable Olivia Williams and Harry Lennix meanwhile quickly resonate as two of Echo's bosses, who have very different sensibilities regarding Echo and the other actives – and the morality of what they are doing.
There have been questions regarding Dushku, and if the actress – so often cast as the tough girl – is the right person to pull off a role that will presumably need to show a tremendous amount of range. The first episode leaves the answer to that question unclear. Certainly, Dushku seems a bit more at home in one of the personas (hint: it's the more lighthearted one) we see her playing than the other, but she also doesn't embarrass herself in the least in the other. Whedon is clearly going to ask a lot of her in the episodes to come, and as a longtime fan of Dushku (Faith ruled!), I'm definitely pulling for her.
The first episode lacked a certain energy Whedon's work usually has, and I felt myself thinking "this is interesting", without actually getting caught up in the story on a visceral level. It should be noted that Whedon has said that FOX has asked for the show to be more action-oriented, but that's not exactly the case in the pilot, which has thriller elements, but not much in the way of kicking ass – at least not from Echo as yet. That's not to say this (or any) show needs gun play and martial arts to be exciting, but there was a certain overly mellow tone to the entire episode that was surprising – one only need look at an episode like Buffy's "The Body" to see how much Whedon can do with dialogue and emotion alone.
FOX infamously demanded a new pilot for Firefly -- though Whedon is quick to point out that shooting a new first episode for Dollhouse was his suggestion this time -- and the result, "The Train Job" was one of the weaker episodes of that wonderful series and far from the best example of all Firefly could be. Still, it did have that pivotal moment where Malcolm Reynolds kicked a tough talking prisoner into an engine that made you sit up and go, "Oh yes, this is a Joss Whedon show alright!" Unfortunately, the Dollhouse pilot has no such moment, either in dialogue or action. It's certainly laying the foundation for something that can be quite compelling, but in and of itself, the first episode doesn't exactly grab hold in the manner I hoped for.
However, the circumstances under which this episode was made, as part of a decision to re-tool the series, have to be taken into account and I'm definitely curious where the series will go in future episodes. Whedon has proven his talent time and again his involvement is reason enough to make Dollhouse a show worth keeping on your radar… and your DVR settings.
http://tv.ign.com/articles/940/940128p1.html
Fox Execs Speak
Q: Many people were surprised that you didn't put Whedon's "Dollhouse" in one of those post-"Idol" spots, instead opting for the relatively sleepy zone of Fridays. Why put such a buzzed-about show on that night?
Liguori: It's a night where there's not a hell of a lot of competition. So we're able to get the show on there. We're able to allow the show to grow. The expectations may be slightly lower for its performance.
Reilly: By nature, this show has a particular kind of audience. That's just what Joss does. You could say, why "Lie to Me" [on Wednesdays] after "Idol"? I think that's a broader show. You don't want to put in something with more of a sci-fi bent.
Liguori: We think Tim is a breakout television character. We also feel that there's some aspiration to this show, especially in these times. This is a character and a team that is basically out to call people on their lies.
Q: On Mondays, you've had "Terminator: The Sarah Connor Chronicles," which has struggled for traction in its second season and is about to move to Fridays to join "Dollhouse." Why's "Sarah Connor" so ratings-challenged?
Reilly: Overall, the numbers are not where we hoped they'd be. And yet it has a very, very loyal core audience. Ultimately, moving it to Fridays, pairing it with "Dollhouse," felt like a cohesive strategy, two very compatible shows. Hopefully the Joss loyalists will show up.
http://latimesblogs.latimes.com/show...s-a-lot-a.html
Q: Many people were surprised that you didn't put Whedon's "Dollhouse" in one of those post-"Idol" spots, instead opting for the relatively sleepy zone of Fridays. Why put such a buzzed-about show on that night?
Liguori: It's a night where there's not a hell of a lot of competition. So we're able to get the show on there. We're able to allow the show to grow. The expectations may be slightly lower for its performance.
Reilly: By nature, this show has a particular kind of audience. That's just what Joss does. You could say, why "Lie to Me" [on Wednesdays] after "Idol"? I think that's a broader show. You don't want to put in something with more of a sci-fi bent.
Liguori: We think Tim is a breakout television character. We also feel that there's some aspiration to this show, especially in these times. This is a character and a team that is basically out to call people on their lies.
Q: On Mondays, you've had "Terminator: The Sarah Connor Chronicles," which has struggled for traction in its second season and is about to move to Fridays to join "Dollhouse." Why's "Sarah Connor" so ratings-challenged?
Reilly: Overall, the numbers are not where we hoped they'd be. And yet it has a very, very loyal core audience. Ultimately, moving it to Fridays, pairing it with "Dollhouse," felt like a cohesive strategy, two very compatible shows. Hopefully the Joss loyalists will show up.
http://latimesblogs.latimes.com/show...s-a-lot-a.html
Last edited by Barry Woodward; 12-20-08 at 02:15 AM.
12-21-08, 04:20 PM
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From The Ausiello Files @ EW.com:
From Sci Fi Wire:
Exclusive 'Dollhouse' video: Watch Eliza Dushku's memories vanish!
I know we said we weren't exchanging this year, but I saw this exclusive Dollhouse clip while out shopping this weekend and, well, I just had to get it for you guys.
The set-up: The following scene from the Feb. 13 premiere is the first time we see Echo (Eliza Dushku) wake up after having her memories wiped in the special memory-flushing chair. That leads into a discussion between lab tech Topher (Fran Kranz) and Echo’s handler Boyd (Harry Lennix) about her last "date," delving into just what being a doll/active means.
Long story short: Coolest. Stocking. Stuffer. Ever.
(P.S. If you're feeling rotten about not getting me anything in return, here's what I have to say about that: There's still time!)
http://ausiellofiles.ew.com/2008/12/...ive-dollh.html
I know we said we weren't exchanging this year, but I saw this exclusive Dollhouse clip while out shopping this weekend and, well, I just had to get it for you guys.
The set-up: The following scene from the Feb. 13 premiere is the first time we see Echo (Eliza Dushku) wake up after having her memories wiped in the special memory-flushing chair. That leads into a discussion between lab tech Topher (Fran Kranz) and Echo’s handler Boyd (Harry Lennix) about her last "date," delving into just what being a doll/active means.
Long story short: Coolest. Stocking. Stuffer. Ever.
(P.S. If you're feeling rotten about not getting me anything in return, here's what I have to say about that: There's still time!)
http://ausiellofiles.ew.com/2008/12/...ive-dollh.html
Asked about appearing in Dollhouse, Neil Patrick Harris laughed. "Wow! Well, you know, I'm in CBS' corner right now because of How I Met Your Mother, so I don't know that I'd be able to, but I think it's produced by 20th Century Fox, so, you know, they're sort of cousins," he said. "That would be fun! All right. I'll ask Joss! I like being a cousin in the Whedon family, so whatever he wants me to do. Except porn."
http://www.scifi.com/scifiwire/index...ory=0&id=63051
http://www.scifi.com/scifiwire/index...ory=0&id=63051
Last edited by Barry Woodward; 12-22-08 at 01:39 AM.
12-22-08, 12:51 AM
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12-22-08, 01:27 AM
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That was a cool clip of Dollhouse. I certainly hope the series will be as good as I think it could be. I will be tuning in... that much is for certain. I love Buffy, Angel, and Firefly.
12-22-08, 10:29 AM
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12-22-08, 01:51 PM
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12-22-08, 02:33 PM
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Right, the cuts are ordered by the production co., 20th Century Fox, which includes shows airing across networks other than FOX, like Life On Mars (which airs on ABC).
12-23-08, 08:34 AM
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12-28-08, 04:53 AM
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Review of the original pilot script "Echo":
http://www.thefutoncritic.com/rant.aspx?id=20080610a
Review of the new pilot "Ghost":
http://www.thefutoncritic.com/rant.a...1227_dollhouse
http://www.thefutoncritic.com/rant.aspx?id=20080610a
Review of the new pilot "Ghost":
http://www.thefutoncritic.com/rant.a...1227_dollhouse
01-02-09, 01:37 PM
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Extra's Dollhouse preview:
http://www.youtube.com/watch?v=HTZ7uEHDdkI
From the latest TV Guide, Page 37:
From Zap2it:
Also:
http://www.eonline.com/uberblog/watc...winter_tv.html
http://www.hitfix.com/blogs/2008-12-...spring-of-2009
http://www.youtube.com/watch?v=HTZ7uEHDdkI
From the latest TV Guide, Page 37:
Dollhouse. Premieres February 13, 9/8c, Fox. Buffy The Vampire Slayer creator Joss Whedon makes his long-awaited return to television with Dollhouse, a twisty drama following a mysterious company that hires out “actives” – people who have had their personalities wiped clean so they can be imprinted with new ones – to wealthy clients. Among the humans for hire is Echo, played by Buffy alum Eliza Dushku.
Fox scrapped the original pilot (just as they did with Whedon’s quickly canceled Firefly), deeming it too hard to follow, but Whedon is pleased with the new opener. “It explains the world and structure of the show, and everything that can go wrong and right,” he says. “We’ll come into this world kind of slam in the middle. We’ll get to see Echo as the ultimate perfect date, and then as a hostage negotiator on a kidnapping. She gets to be two completely different people.”
There will be plenty of action, but, in classic Whedon fashion, the theme of identity is key, especially when Echo starts to discover the truth about the Dollhouse. “The idea that she understands that she exists, that someone created her, is so timeless,” Whedon says. “It’s the robot story, it’s the Frankenstein myth, it’s the human condition.”
Fox scrapped the original pilot (just as they did with Whedon’s quickly canceled Firefly), deeming it too hard to follow, but Whedon is pleased with the new opener. “It explains the world and structure of the show, and everything that can go wrong and right,” he says. “We’ll come into this world kind of slam in the middle. We’ll get to see Echo as the ultimate perfect date, and then as a hostage negotiator on a kidnapping. She gets to be two completely different people.”
There will be plenty of action, but, in classic Whedon fashion, the theme of identity is key, especially when Echo starts to discover the truth about the Dollhouse. “The idea that she understands that she exists, that someone created her, is so timeless,” Whedon says. “It’s the robot story, it’s the Frankenstein myth, it’s the human condition.”
I resolve not to panic about Dollhouse before it even premieres:
Yes I know FOX cancelled Firefly well before it’s time. Yes I know that there have been the stops and starts in production. Yes I know the show is going to air on Friday night. But I’m not panicking. I’ve seen the pilot – it’s good, not great (there’s a lot of exposition to cover) but it has potential and Sunnydale wasn’t built in a day people. So I’m not panicking. I think the show is going to be all right, that FOX is going to give it a chance to find an audience and everything will be fine. Grrr . . . argh, look at me not panicking.
http://blog.zap2it.com/tvgal/2008/12...ow-how-so.html
Yes I know FOX cancelled Firefly well before it’s time. Yes I know that there have been the stops and starts in production. Yes I know the show is going to air on Friday night. But I’m not panicking. I’ve seen the pilot – it’s good, not great (there’s a lot of exposition to cover) but it has potential and Sunnydale wasn’t built in a day people. So I’m not panicking. I think the show is going to be all right, that FOX is going to give it a chance to find an audience and everything will be fine. Grrr . . . argh, look at me not panicking.
http://blog.zap2it.com/tvgal/2008/12...ow-how-so.html
http://www.eonline.com/uberblog/watc...winter_tv.html
http://www.hitfix.com/blogs/2008-12-...spring-of-2009
Last edited by Barry Woodward; 01-03-09 at 02:32 AM.
01-05-09, 01:45 PM
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From The TV Addict:
From The Hollywood Reporter:
From Entertainment Weekly:
From TV Guide:
Review: Welcome to the DOLLHOUSE
A note from the author (Miles Baker): I’ve tried to make this review as spoiler-free as possible. However, there are minor spoilers for DOLLHOUSE’s pilot episode. Also note, this review is written by a Whedon fanboy.
I think it’s fair to say that Joss Whedon fans are worried about his new series DOLLHOUSE. There have been rumors, production stoppages, a couple of pilots, delays and a few eye brow-raising interviews. But fear not, viewers, DOLLHOUSE’s first episode is mostly good and it’s something to be excited about.
I’m not going to lie, it’s not perfect. There are a few missteps — and some even glaring mistakes — made in the first episode, but there is a lot of potential in the concept, in the characters and in the story.
Dollhouse, the place, is a secret organization where wealthy clients engage them to provide a human being. That human being has had their memories and personality removed so that a new personality or skill set can be imposed on them. The mad scientists of Dollhouse use personalities based on composites of real people so the active can be whatever the client wants or needs: a lover, a fighter, a tutor, chef, who knows what else.
This is actually the second episode filmed for DOLLHOUSE, the initial pilot was rejected by Fox, which is probably why this episode feels like there’s a lot handed to you in terms of exposition. Clunky lines like, “Let’s have no ex-cop heroics, huh?” hinder the flow of the show and make me think, “Come on, Whedon, you’re a better writer than that. There must have been a more elegant way to introduce that.”
There are also moments that make he think, “Whedon, you’re a better director than that.” In a couple scenes it seems that Whedon can’t get the actors to the emotional place he needs them to, especially during the opening scene which really hurts this episode.
However, the show picks up by the mid-point as Echo, under the guise of a expert hostage negotiator, tries to return a kidnapped young girl to her rich father. By this point, you start to see how the typical episode will probably function in the case-by-case sense, and that’s where I think the show starts to show its potential.
The show can be anything it wants to every week: crime, espionage, screw ball comedy, whatever. However, that might also be the show’s weakness in the long run if audiences don’t really know what to expect. It also will be hard to emotionally invested in Echo or any of the other actives if all they do is constantly reset.
This series is dark, it’s even all-caps DARK. Actives seem to spend most of their time as whores and killers, and between jobs they are completely innocent and child-like, and there’s an implication is that a lot of them are sold into the business. And that’s just the tip of the dark-berg, things get even darker as Echo takes on the kidnapping case.
As far as this episode goes, it’s not the total success that fans were hoping for. It’s a show that still needs to find its feet and that puts this show in more than a bit of jeopardy with cancel-happy Fox. But from what I’ve seen, I’m convinced that there is a good series following this pilot even if it isn’t here yet.
http://thetvaddict.com/2009/01/05/re...the-dollhouse/
A note from the author (Miles Baker): I’ve tried to make this review as spoiler-free as possible. However, there are minor spoilers for DOLLHOUSE’s pilot episode. Also note, this review is written by a Whedon fanboy.
I think it’s fair to say that Joss Whedon fans are worried about his new series DOLLHOUSE. There have been rumors, production stoppages, a couple of pilots, delays and a few eye brow-raising interviews. But fear not, viewers, DOLLHOUSE’s first episode is mostly good and it’s something to be excited about.
I’m not going to lie, it’s not perfect. There are a few missteps — and some even glaring mistakes — made in the first episode, but there is a lot of potential in the concept, in the characters and in the story.
Dollhouse, the place, is a secret organization where wealthy clients engage them to provide a human being. That human being has had their memories and personality removed so that a new personality or skill set can be imposed on them. The mad scientists of Dollhouse use personalities based on composites of real people so the active can be whatever the client wants or needs: a lover, a fighter, a tutor, chef, who knows what else.
This is actually the second episode filmed for DOLLHOUSE, the initial pilot was rejected by Fox, which is probably why this episode feels like there’s a lot handed to you in terms of exposition. Clunky lines like, “Let’s have no ex-cop heroics, huh?” hinder the flow of the show and make me think, “Come on, Whedon, you’re a better writer than that. There must have been a more elegant way to introduce that.”
There are also moments that make he think, “Whedon, you’re a better director than that.” In a couple scenes it seems that Whedon can’t get the actors to the emotional place he needs them to, especially during the opening scene which really hurts this episode.
However, the show picks up by the mid-point as Echo, under the guise of a expert hostage negotiator, tries to return a kidnapped young girl to her rich father. By this point, you start to see how the typical episode will probably function in the case-by-case sense, and that’s where I think the show starts to show its potential.
The show can be anything it wants to every week: crime, espionage, screw ball comedy, whatever. However, that might also be the show’s weakness in the long run if audiences don’t really know what to expect. It also will be hard to emotionally invested in Echo or any of the other actives if all they do is constantly reset.
This series is dark, it’s even all-caps DARK. Actives seem to spend most of their time as whores and killers, and between jobs they are completely innocent and child-like, and there’s an implication is that a lot of them are sold into the business. And that’s just the tip of the dark-berg, things get even darker as Echo takes on the kidnapping case.
As far as this episode goes, it’s not the total success that fans were hoping for. It’s a show that still needs to find its feet and that puts this show in more than a bit of jeopardy with cancel-happy Fox. But from what I’ve seen, I’m convinced that there is a good series following this pilot even if it isn’t here yet.
http://thetvaddict.com/2009/01/05/re...the-dollhouse/
Timeslot Tussels
Midseason series, schedule shifts create new battlegrounds
By James Hibberd
Battleground: Fridays at 9 p.m.: CBS' "Flashpoint" vs. Fox's "Dollhouse"
Analysis: Like comparing a Buick to a funnel cake. Here's CBS' modestly rated, yet seemingly nuclear-blast-proof Canadian import competing with Fox's fallen midseason angel. After trying "Moonlight" and "The Ex List" in this slot, Friday leader CBS hopes "Flashpoint" can finally fill this ratings pothole. With its other weekday slots occupied by more promising titles, Fox placed the softening sci-fi drama "Terminator: The Sarah Connor Chronicles" and creatively overhauled freshman series "Dollhouse" onto the Friday wall in hopes they might stick.
Likely winner: In the short term, curiosity tune-in will probably push "Dollhouse" to top the adult demo, despite having a weaker lead-in. But "Flashpoint" is almost certain to win among total viewers and will probably dominate in the demo as the season progresses.
http://www.hollywoodreporter.com/hr/...ee840de11?pn=5
Midseason series, schedule shifts create new battlegrounds
By James Hibberd
Battleground: Fridays at 9 p.m.: CBS' "Flashpoint" vs. Fox's "Dollhouse"
Analysis: Like comparing a Buick to a funnel cake. Here's CBS' modestly rated, yet seemingly nuclear-blast-proof Canadian import competing with Fox's fallen midseason angel. After trying "Moonlight" and "The Ex List" in this slot, Friday leader CBS hopes "Flashpoint" can finally fill this ratings pothole. With its other weekday slots occupied by more promising titles, Fox placed the softening sci-fi drama "Terminator: The Sarah Connor Chronicles" and creatively overhauled freshman series "Dollhouse" onto the Friday wall in hopes they might stick.
Likely winner: In the short term, curiosity tune-in will probably push "Dollhouse" to top the adult demo, despite having a weaker lead-in. But "Flashpoint" is almost certain to win among total viewers and will probably dominate in the demo as the season progresses.
http://www.hollywoodreporter.com/hr/...ee840de11?pn=5
2009's New TV Shows I Want To Watch
by Ken Tucker
Coming out of a few weeks of mostly reruns, my appetite for new shows is ravenous. Here's a quick run-down of some brand-new series premiering over the next few months, roughly in the order of my curiosity about them.
1. Dollhouse (Fox, premiering Feb. 13) Joss Whedon in the (doll)house! With Buffy's Eliza Dushku as part of a group of humans whose personality is erased and imprinted with a new one each time she goes on a new mission for a client. Sheesh, it sounds complicated, doesn't it? But there's no one I'd trust more to guide me into a tricky TV series than creator-producer-writer Whedon. Bring on the mind-bending...
2. Castle (ABC, premiering Mar. 9) Another Whedon alum--Nathan Fillion, from the great cult series Firefly--stars as a mystery-writer turned mystery-solver. Could be a lot of wry fun, or could be Murder, He Wrote; can't wait to find out.
3. Lie To Me (Fox, premiering Jan. 21) Tim Roth (Pulp Fiction) stars as a scientist who specializes in reading people's faces and body language to determine whether they're telling the truth. He uses his ability to help cops solve crimes. I've seen this pilot, and suspect Fox is right in thinking it's got itself a possible big hit. Roth is charmingly sardonic, and Kelli Williams, who's kept herself pretty hidden since co-starring in David E. Kelley's The Practice, radiates a smart glow.
4. Cupid (ABC, premiering Mar. 14) A guy claims to be the earthly manifestation of the Roman love-god Cupid (Will & Grace's Bobby Cavanale), and tries to match up people destined for each other. Some folks think he's crazy--including co-star Sarah Paulson (Studio 60 On The Sunset Strip) as his psychiatrist. If this show sounds familiar, it's because its creator, Rob Thomas (Veronica Mars) did a show a decade ago called Cupid starring Jeremy Piven in the title role. Same premise. It bombed. Maybe this concept's time has come now?
5. Kings (NBC, premieres Mar. 19) I'll be honest: Tell me this is about a mythical kingdom of kings and princes but set in the present-day, and I'll give you a "Get outta here!" But tell me that the king is played by Deadwood's Ian McShane, and involves a lot of ruthless plotting, and I'll be in front of my TV, hoping it is good and worthy of the great McShane.
Which of these new shows are you looking forward to?
http://watching-tv.ew.com/2009/01/2009s-new-tv-sh.html
by Ken Tucker
Coming out of a few weeks of mostly reruns, my appetite for new shows is ravenous. Here's a quick run-down of some brand-new series premiering over the next few months, roughly in the order of my curiosity about them.
1. Dollhouse (Fox, premiering Feb. 13) Joss Whedon in the (doll)house! With Buffy's Eliza Dushku as part of a group of humans whose personality is erased and imprinted with a new one each time she goes on a new mission for a client. Sheesh, it sounds complicated, doesn't it? But there's no one I'd trust more to guide me into a tricky TV series than creator-producer-writer Whedon. Bring on the mind-bending...
2. Castle (ABC, premiering Mar. 9) Another Whedon alum--Nathan Fillion, from the great cult series Firefly--stars as a mystery-writer turned mystery-solver. Could be a lot of wry fun, or could be Murder, He Wrote; can't wait to find out.
3. Lie To Me (Fox, premiering Jan. 21) Tim Roth (Pulp Fiction) stars as a scientist who specializes in reading people's faces and body language to determine whether they're telling the truth. He uses his ability to help cops solve crimes. I've seen this pilot, and suspect Fox is right in thinking it's got itself a possible big hit. Roth is charmingly sardonic, and Kelli Williams, who's kept herself pretty hidden since co-starring in David E. Kelley's The Practice, radiates a smart glow.
4. Cupid (ABC, premiering Mar. 14) A guy claims to be the earthly manifestation of the Roman love-god Cupid (Will & Grace's Bobby Cavanale), and tries to match up people destined for each other. Some folks think he's crazy--including co-star Sarah Paulson (Studio 60 On The Sunset Strip) as his psychiatrist. If this show sounds familiar, it's because its creator, Rob Thomas (Veronica Mars) did a show a decade ago called Cupid starring Jeremy Piven in the title role. Same premise. It bombed. Maybe this concept's time has come now?
5. Kings (NBC, premieres Mar. 19) I'll be honest: Tell me this is about a mythical kingdom of kings and princes but set in the present-day, and I'll give you a "Get outta here!" But tell me that the king is played by Deadwood's Ian McShane, and involves a lot of ruthless plotting, and I'll be in front of my TV, hoping it is good and worthy of the great McShane.
Which of these new shows are you looking forward to?
http://watching-tv.ew.com/2009/01/2009s-new-tv-sh.html
Dollhouse (Fox) TVGuide.com Editors' Pick
Premieres: Feb. 13, 9 pm/ET
Who's on it: Eliza Dushku, Olivia Williams, Tahmoh Penikett
What it's about: "Who do you want me to be?" is the creepy tagline for this Joss Whedon creation. Echo (Dushku) is an "active," a blank canvas upon which clients assign identities, which are then wiped clean when the engagement is over. Echo lives with other actives in a lab run by the mysterious, madam-like Adelle (Williams). Things go awry when Echo starts to remember her life before it was erased as FBI Agent Paul Ballard (Penikett) closes in on the Dollhouse's illegal operation.
Why it's on our Watch List: The latest, reshot pilot still reveals some flaws — the biggest problem with Dollhouse may be what goes on inside the Dollhouse — but the missions, er, engagements are kinda cool, as Echo immerses herself in each new personality. We're going to give Team Whedon-Dushku some latitude on this one.
http://www.tvguide.com/special/winte.../newshows.aspx
Premieres: Feb. 13, 9 pm/ET
Who's on it: Eliza Dushku, Olivia Williams, Tahmoh Penikett
What it's about: "Who do you want me to be?" is the creepy tagline for this Joss Whedon creation. Echo (Dushku) is an "active," a blank canvas upon which clients assign identities, which are then wiped clean when the engagement is over. Echo lives with other actives in a lab run by the mysterious, madam-like Adelle (Williams). Things go awry when Echo starts to remember her life before it was erased as FBI Agent Paul Ballard (Penikett) closes in on the Dollhouse's illegal operation.
Why it's on our Watch List: The latest, reshot pilot still reveals some flaws — the biggest problem with Dollhouse may be what goes on inside the Dollhouse — but the missions, er, engagements are kinda cool, as Echo immerses herself in each new personality. We're going to give Team Whedon-Dushku some latitude on this one.
http://www.tvguide.com/special/winte.../newshows.aspx
Last edited by Barry Woodward; 01-05-09 at 02:51 PM.
01-05-09, 02:43 PM
#175
DVD Talk Hero
Re: Joss Whedon's Got A New Show: Dollhouse
I was able to read the script for the original Dollhouse pilot the other day, and it wasn't half bad. It jumped right into the show's mythology, and started to build up a pretty large arc, which sort of surprised me. I was actually sort of surprised that
I am a bit concerned that Fox rejected the pilot, seemingly for something more average-dipshit-viewer-friendly. I didn't have any trouble following the script at all; even with the characters switching identities, it was very straight-forward.
Spoiler:
I am a bit concerned that Fox rejected the pilot, seemingly for something more average-dipshit-viewer-friendly. I didn't have any trouble following the script at all; even with the characters switching identities, it was very straight-forward.