DOLLHOUSE season 2 premiere: “Vows”
Photo Credit: Spoiler TV/ Fox.
Read on for my recap & review of the Dollhouse season 2 premiere:
The episode opens with Echo in the chair, as usual. Less expected is the whole gang of people in there with her. She has a new handler, but we don’t really have to worry about him, as he’s replaced by the end of the episode. Paul is also in the imprint room, and is concerned about Echo, which pretty much explains his sole character trait and purpose on this show. I really wish that they would develop his character further. The engagement that Echo is on is long-term, which presents further problems. Topher dismisses Paul’s concerns: “But this is the dollhouse frenemy.” Their conversation is interrupted by a problem with Whiskey, but it seems to go away, so Topher is relieved. I wouldn’t be so sure.
Cut to Adelle and Boyd walking through the Dollhouse. Adelle has a new short hair-cut. She looks gorgeous as always, but it gives her more of a modern look than I’d like. Boyd is also concerned about Echo (I guess everyone is), but Adelle reminds him that he’s no longer Echo’s handler, but head of security. They run into Victor, and Adelle touches Victor’s face, and says that his scars are moving along nicely. Adelle reminds Boyd that this is part of their deal with Paul, and that the alternative options would be less pleasing for both. Then there’s a cryptic mention of Tempura Joe. I really didn’t need that visual, Joss. Boyd: “I thought they had seen them all, but honestly, this one’s sick.”
Cut to Apollo (Jamie Bamber) and Echo getting married! Then there is a quick (and somewhat jarring) cut to the credits, which unfortunately are still “The Eliza show!” C’mon people! They really need to realize that this is an ensemble show, not an Eliza Dushku press vehicle.
Back in the Dollhouse, we see Topher getting up from his cot. So I guess he sleeps in the Dollhouse. He goes into his office and his awesome assistant is there (Liza Lapira—I now know her from Dexter too). She teases her morning activities, but Topher is cranky and not amused: “If you tweaked an imprint, I’ll throw you at that window.” Wow, these past few months (or whatever amount of time has passed) have not been good to Topher. There’s a mention of “Autumn rush.” Sierra comes in, and she’s all stuffy and racist. She doesn’t want Ivy to help her, and would prefer “the man one.” Ivy helps her anyways, and Sierra tells her: “I’m not comfortable with Orientals. It’s not a racist issue, really … it’s just that your culture’s not really a thing.” She then mentions something about being amenable to being tied down and spanked. Wow.
An interchange ensues in which we learn that the Jonas Brothers are back in town, and they are “ferocious little nippers.” So I guess the boys are clients? Topher opens the cabinet to find it full of white rats. Like me, this freaks Topher out. Ivy didn’t know that Topher had a problem with rodents, but Topher points out that clearly, somebody knew. He calls Dr. Saunders, who is in a corner of the Dollhouse watching her handiwork. She’s the one messing with him, and Topher asks her to stop. I’m thrilled that they’re picking up on this storyline from the end of the season 1 finale. Saunders tells Topher: “I don’t seem to be able to. Maybe your work’s not up to par.” Topher defends his work, but Saunders is not so sure: “Put the rats back in the maze Topher, before one of them bites you.”
Boyd enters Saunder’s office, and they discuss Victor’s scars, which have been treated with a very expensive procedure. This inevitably brings up Saunder’s scars, and we learn that Boyd knows that she’s an active. Saunders: “I like my scars, they bring out my eyes.” She also points out that if her scars were healed, that Adelle might decide she was a more lucrative asset out on engagements. Boyd says he wouldn’t allow it. Saunders: “What if she went over your head?” Boyd: “I’m very tall.” Oh, Boyd, I love you. Saunders confronts Boyd about his new found concern, accusing him of pity, curiosity, or deviant excitement. Amy Acker then delivers her next line in such a way that I love her even more than I already did: “There’s no judging in the Dollhouse.” This role has really become the juiciest one on the show—go Amy! Rather than being offended, Boyd asks her to have dinner with him. She says that she doesn’t go out because she’s afraid to leave, and has a problem with crowds, open spaces, pets, etc. “For some reason I’m just built that way.” I would repeat my effusive praise of Amy Acker again, but this recap might get out of control. Boyd counters: “Every person I know is poorly constructed. Everybody has an excuse for not dealing. But that’s all it is—an excuse.” How very profound of him. This statement also has the effect of making the dolls’ problems relatable to the average person. Bravo, Joss.
Cut to Apollo and Echo kissing as they share wedding cake. I feel like I’m in someone’s geeky alternate universe fantasy. The newly married couple dances. Jamie Bamber is using his real, British accent, rather than the American one he used on Battlestar Galactica. This helps me to think of him as a different character from Lee Adama. He’s acting very sweet, but that will not last. Paul listens in and is not happy. A montage ensues, which cuts between Echo and Martin’s wedding night and Paul doing push-ups. Knowing what I know now, I no longer feel sorry for Paul in this scene.
The next day, Echo is wearing an unfortunate striped dress, and goes into the back of a restaurant to meet up with Paul. She greets him very familiarly: “Hey partner.” She mocks him for his emotions. It seems that she thinks she works for the bureau, and her marriage to Klar (spelling?) is part of a set-up to bring the criminal down. Echo: “Is this about the sex? I know for you the act of love is the most important thing that two people can share. It’s just bodies.” Paul is concerned that they don’t know more. Echo: “This is Martin Klar, ok? I can’t even get him to tell me where the honeymoon is.” As their conversation proceeds, it is clear that Paul is reading from a script. What is going on here? They are interrupted by a team from the Dollhouse, including Echo’s new and temporary handler. The handler says that Echo has to come in for a treatment because long-term engagements are tricky. Paul is hesitant to let her go, but agrees. The handler refers to Paul as the client!?!?!? Craziness. This is very concerning.
Back at the Dollhouse, Echo has a check-up with Dr. Saunders. This is the clip that was free on iTunes last month. Echo has a flashback to Whiskey and herself, both dolled up at a party. They lean in to kiss, and she snaps back to the present. Saunders is wearing Firefly-esque blue gloves, by the way. Echo calls her Whiskey, and confuses Saunders. Echo: “You were number one … I don’t remember the rest.” Saunders: “Alpha cut up my face. Do you remember that?” Echo: “Why?” Saunders: “So you could be number one.” Echo: “Am I?” Saunders: “You are.” The scene is a bit creepy, and I was almost expecting for Whiskey to pull a knife on Echo. Echo has the last word: “No one is their best in here.”
Wesley!!! Alexis Denisof plays a U.S. Senator, and gives a speech about the Rossum Corporation. He’s not using the British accent that he used on Buffy the Vampire Slayer and Angel; instead, he’s using his real accent. Adelle and Boyd watch, and they are concerned. Boyd also really likes Senator Perrin’s suit. Somehow the senator found out about them, and Boyd thinks it might have been Paul. Cue Paul’s entry, and he also admires the senator’s suit. Boyd leaves the tension-filled encounter.
Paul fingers Boyd instead. Maybe it was Alpha? Adelle points out Paul’s failing engagement. Adelle says that she wants Paul to consider becoming Echo’s handler. She also mocks his claim to not work for her: “No, you work for the betterment of mankind. Fighting crime, by listening to Echo have sex. It’s terribly noble.” Paul says Clar’s first name totally differently this time, so is he Martin or Sy? She then twists the knife: “You never ask about November.” Paul doesn’t even remember who she is, so Adelle has to remind him. Sad. Adelle: “I think you were just done with her. But not with Echo. You still need her here for something, but you’ll never get it with the ex in the way.” Ouch. Adelle points out that Echo was glitching even before Alpha dumped all the personalities in her, and that she’s keeping Echo around to study before sending her to the attic. Uh oh. She also reminds the audience that what they’re learning in the Dollhouse serves to aid Rossum in its research. Adelle: “Echo has three more years on her contract. I would prefer her to have someone in her corner who really cared about her, even unreasonably.” Paul thinks she is working an angle, and Adelle is like, “duh!”
Cut to Apollo and Echo sharing a moment, while another guy looks at surveillance photos of Echo meeting with Paul. Uh oh, cover is blown.
Back at the Dollhouse, Whiskey is in Topher’s bed, and freaks him out: “What the hell? Are you drunk?” Whiskey: “I’m just trying to be my best.” Topher: “I don’t want your best.” She is acting very seductive, but Topher will have none of it. Whiskey argues: “This is the end-game. This is where it all leads. You designed someone to hate you so that you could get her to love you. […] Slaves are just slaves, but winning over your enemy … that’s real love.” Wow. She says that she loves him, and Topher tells her she needs a “frickin’ treatment.” A conversation ensues that explains why Whiskey was imprinted as Dr. Saunders, and gives us more insight into Topher and Whiskey than we have ever had. It is also the best part of this episode, and possibly the series. I’ll just recap the highlights. Topher explains: “If you agreed with everything I said, than we would miss something and people would get hurt.” Whiskey is dubious, but Topher says that she doesn’t know him: “I didn’t make you hate me. You chose to.” She cries, and again I must note that Amy Acker is amazing. Whiskey: “How do I live? How do I go through my day knowing that everything that I think comes from something I can’t abide?” Topher is relieved to learn that Whiskey wasn’t really going to sleep with him, and Whiskey lets him know she can’t stand his smell. Topher asks why she didn’t find out her real identity when she had the chance. Whiskey: “I don’t want to die. I’m in someone else’s body and I don’t want to give it up. I’m not better than you, I’m just a series of excuses.” Topher: “You’re human.” Whiskey: “Don’t flatter yourself.” Wow. Any thoughts on this?
Meanwhile, Echo wakes up in bed and Martin is gone. She gets up and decides to take the opportunity to snoop in her new husband’s office. Unfortunately for her, he is totally spying on her. He has also already seen the photos of her with Ballard. Echo tries to tell him that this is his fault, but it doesn’t work, so he knocks her head into the table. He asks who she is, and he is beyond angry. The knock on the head prompts a series of flashbacks to previous personality imprints. Echo fights back and tries puts herself on moral high-ground. The personality who Echo is imprinted with is a really good actress, and I almost believe her. Then she ruins it all by calling herself Mrs. Eleanor Penn. “Wait. What did they make me this time?” Good callback to first season premiere.
Cut to an airplane hangar. Echo and Martin drive up, and Martin shows her his dirty bombs. He tries to play the part of the victim: “I never lied to you. Never about anything that mattered.” Hmm … and just how does one determine that? The building of deadly bombs doesn’t matter? Insane troll logic.
Paul calls Topher as he’s rightly concerned. Topher realizes that spikes were bad spikes. Rather than waiting for help, Paul decides to use his “worse plan.” Having seen Tahmoh as Helo, I’m not at all surprised. Paul goes into the hangar and confronts Martin. Martin pronounces Paul Ballard without the final “d.” The accents on this show are just fascinating me today. Martin decides to hit Paul with his gun, and I really wish that I could see behind-the-scenes footage of Jamie and Tahmoh doing that scene. Hehe. Meanwhile, Echo is glitching like crazy, and reverts briefly to her southern accented trashy girl persona from “Omega.” Then she becomes the rich dead lady from “Haunted.” Then she goes back to the latest persona and Paul tells her to give it up. Paul realizes what’s happening and turns on her. He begins to hit her repeatedly and chokes her neck. What? I just don’t like seeing this, and am seriously disturbed. It seems that Paul is trying to trigger her memory of her more badass personality—the one from the fight scene in the Chinese restaurant—but I wish that this could have been handled differently. I guess that it’s a life and death situation, and Paul felt that he had to do something, but this is not improving his unlikeable character (not you Tahmoh—you’re perfect). Echo snaps into assassin mode, and jumps onto Martin’s town car. She throws a bomb in it, but they both escape the car before it blows. He pulls a gun, and she knocks him down. “Let’s go sweetie.”
Cut to Echo in the chair. “Did I fall asleep?” Adelle: “For a little while.” As the montage music starts to play, Boyd goes into Dr. Saunders office, and finds a note: “I’m running out of excuses.” Cut to Whiskey in the car, driving. Topher sits in his cot room alone and is upset. Victor sees Siera and she touches his face. They walk off together.
Paul approaches Echo, and apologizes for not being his best. Too little, too late. Echo says that she remembers everything: “Sometimes I’m someone else, and then I come back, but I still feel them—all of them. I’ve been many people. I can hear them … sometimes suddenly. I’m all of them, but none of them is me. Do you know who’s real?” Paul: “Caroline.” She wants to find Caroline, and “all of them,” and she wants him to help her. Boyd promises that he’s on her side, but I’m not entirely convinced anymore. Fade into the trust exercise between active and handler. Boyd is now Echo’s handler. I’m worried for her safety, and miss Boyd. Grrr argh.
Agree? Disagree? Thoughts? Theories? Comment away.
I was also disturbed by all the Echo beating in the episode. First beat up by a guy we know is bad, then by Paul?! Dr. Saunders character is GREAT in this episode. I think her struggle is a little reminiscent of feeling that you have to act like someone you’re not. I wonder how Echo is still going to be able to go on engagements if she continues bringing up old imprints. Would DeWitt make her part of the staff in the Dollhouse? hmmm…
Regarding the last part, I think Paul will probably cover for her, now that he’s her handler. But we shall see. Have you seen “Epitaph One,” the 13th episode that was not aired? It has an answer to that, possibly, so you should definitely check it out. It’s on the dvd, and on iTunes.
Yeah, Dr. Saunders just sold the episode. It’s interesting that she’s not reverting to her doll state, like Echo, so it is a totally different direction. Instead, she’s still “Saunders,” but she knows that she is Whiskey–if that makes sense. It leads to a totally different level of intensity in her scenes.
And ditto on the the Echo beating. I hope that we don’t see Paul do this again. The violence against women theme is a necessary one to address, but this week it just seemed gratuitous. Hopefully future episode engagements will make more sense. Next week looks like it’s kind of horror movie-esque, but Echo plays the knife-wielding psycho. I hope they give Victor and Sierra a little more screen time too.
loved the episode. . .looooved your recap!
but i don’t know what this tempura joe thing is you talked about
Aaawww, thanks! The tempura Joe reference was said in passing by Adelle–there was some Dollhouse client who liked to get “tempura-ed” as in the Japanese fried food. Boyd thought that the current engagement was even more sick than that one. Bad Paul.