Dollhouse

Dollhouse definitely has something to offer, but unfortunately, its focus and main advantages somehow miss the mark given my expectations and requirements. It would suit me if the series unfolded its story as a cyberpunk ride, but Joss Whedon steers it toward a mainstream adventure series, full of secret agents, intrigues, beautiful women, and romantic chemistry between men and women. It suffers from the usual shortcomings of current American TV production, namely the episodic nature, and the obvious calculation for as many seasons as possible, so the creators save a lot of surprises for the future, and there are too many exclusively good-looking young people, like bait for a teenage audience. The series has a slower pace and at some moments it seems like Whedon is unsure where to steer the story next. On the other hand, the decent budget is evident in the visuals and the main cast members are not just models, but quality and often experienced actors. However, I can't shake off the feeling that the potential was much greater, and under certain circumstances, the series could have become an unreachable cult hit. Throughout the second season of Dollhouse, it resigned, even if just in appearance, from any logic and continuity, eventually ending up where the two sequels of The Matrix aimed... Overall impression: 40%. (01/02/2010)

1st season - 90% - Another genre under the reign of the king of series. One building, countless missions, and the inevitable realization that the world of agents, clients, or spies has never been so amazing and mysterious. Of course, the most captivating is the mythological storyline of puppet fates, Ballard's investigations, or the auras of Alpha himself, but Whedon surprises mainly by the fact that even mostly episodic missions of the week are genre masterpieces and only slightly lag behind in tension. Thanks to the rescue of the second season, the future has remained even more open. 2nd season - 100% - Those who lost attention even for a few minutes got lost in the Attic. Those who gave up the fight against Rossum completely made a completely unforgivable mistake. Whedon, Minear, and co. fought the battle with the viewership at its peak and expanded the potential as magnificently as even the most loyal fan base did not hope for. I don't even know what to praise first. Whether it's the perfect performances of the actors, the ease with which the individual missions intertwine with the main story, or the deadly escalation that accompanies the final three episodes. The deepest impressions, of course, are left by the final Epitaph Two. So many surprises, emotions, and immortal storytelling can hardly be grasped even on the first viewing. The event of the season is therefore behind us, and the smartest series of its time bids farewell. And we can go to sleep. Maybe again for that short moment that lasted twenty-six beautiful episodes. (28/06/2009)