By Alexander B. Huls
The prodigal son returns
If our massive Buffy event a few months ago wasn’t any indication, let me assure you: Joss Whedon is kind of a big deal around here. That in turns means the biggest news this week in television is the news that, after a somewhat unfortunate and unsuccessful dabbling in film, Joss Whedon is returning to television, with old friend Eliza Dushku, a.k.a. Faith, in tow. You hear that noise? That’s Co-EIC Miles Baker, squealing with the delight of Homer Simpson winning a lifetime supply of beer.
So what show is this that was formidable enough to bring Whedon out of his self-exile from television? Dollhouse follows the likes of Echo (Dushku), who is implanted with a “personality package” of various adoptable identities, memories, and skills that enable her to carry out particular missions — only to have these packages wiped out when the mission is done. In effect, these characters are only ever who they need to be, when they need to be, and never really have their own personality. I have long been fascinated by existential themes and preoccupations, so this is right up my alley. Inevitably, the media studies student in me can’t help but wonder if the show’s concept is a clever commentary on the impact of media inundation on our contemporary lives, which turns all of our identities into postmodern pastiches and dilutes our “true” identities in the process. Or you know, if it’s just a cool idea for an action/science-fiction show.
There is more good (and some bad) news within the welcome news of Whedon’s return. The good news is that Fox has already committed to seven episodes, and provided the show with a mighty spending account, specifically $1.5 to $2 million per episode. Great, right? The bad news? Well, your alarm bells may have gone off at the mention of Fox. Yes, the Fox that severely bungled Whedon’s Firefly when it was on the air, and which has bungled countless other shows, is producing Dollhouse. So even though I am excited, my heart shall be on guard, in order to avoid the heartbreak I experienced when Firefly passed away. All the while, Miles’ squealing will be going on in the background.
Source: EWThe times they are a-changing?
Is it just me, or has this been somewhat of a unique television season (at least in recent memory), on account of the fact that so far the only major show to be cancelled has been Viva Laughlin? I’m not sure I even want to count that instance, given that it got cancelled less than 48 hours after its pilot aired. It’s kind like getting married and then getting divorced two days later. Sure, legally, maybe you’ve been married, but really married? Not so much. My personal mistakes aside, it seems that this season nothing is falling by the wayside. Of course, there are some that seem to be on the cusp, but in most cases the exact opposite is happening. Gossip Girl got a full season almost right out of the gate. Bionic Woman, Reaper, Pushing Daisies, Samantha Who, and a handful of others have either been picked up, or orders have been placed for more scripts. Seeing as the majority of these are great shows (except — gag — Bionic Woman), this is kinda exciting.
Admittedly, the script-ordering is in part on account of the impending strike you’ve no doubt heard about at this point. Who knew that the best way to keep (mostly) quality television on the air is to threaten a strike? We should have one every year. Well, not really, because if those scripts run out, be prepared for the resultant slew of reality TV to drive you to your local Blockbuster, so you can rent the shows you just never got around to watching.
Where did all the originality go?
In the latest proof that business likes to cash in on a good thing, news comes that The Office is getting a spin-off, and that the successful British comedy spear-headed by Simon Pegg and Edgar Wright (of Shaun of the Dead and Hot Fuzz fame), Spaced, is being remade in the US market.
In the case of The Office, I hope they learn from the recent cancellation of the Heroes: Origins series. Stop being greedy and wanting more money from an established product, because you’re just going to overextend yourself and dilute the product that you’re hoping to milk in the first place. Most people are assuming that the Origins project got cancelled because of the writers strike. Honestly? I think it’s because the main series is not only losing ratings, but taking a beating in quality — something critics have been pointing out. I know the idea has worked in the past. Look at the CSI spin-offs, or the most recent Grey’s Anatomy spin-off, Private Practice. Even if The Office spin-off has its own entirely separate creative team, I’m still worried, and will hold it accountable if anything happens to Michael Scott and the gang.
In the case of Spaced — well, maybe The Office has set the bad precedent of a show from the U.K. being remade successfully.
Why do you break my heart?
Season 4 of Battlestar Galactica has been postponed from February to April. I just can’t find the words right now to express how my heart aches.
