It is true that Dollhouse, Joss Whedon’s latest television excursion, is no Firefly. There’s no way it’s going to be as good as Firefly. The western-in-space was likely the most ambitious concept Whedon had worked on for a while, and Dollhouse clearly is not.

However, that doesn’t mean his latest project is in any way bad. In fact, it really shouldn’t be compared to any of his previous projects at all. It carries a lot of small quirks among the characters and dialogue, sure, but it is nothing like Buffy the Vampire Slayer, Angel or Firefly.

When the show begins, it will seem as if the main character known only as Echo is the primary draw and focus of the show. Played by actress and producer Eliza Dushku, she technically continues to be the central focus and motivation throughout the show. The problem is, she’s really not all that interesting and creates a longer effect for the show to develop into something much more interesting.

Can you spot the spoilar in this picture? I can!

The general premise is there is a facility known as the Dollhouse. Hence the title. People that have reached the end of their rope, where they are faced with consequences so great they have nowhere else to turn, volunteer their services to this organization for roughly five years and promised a full and promising life after. The catch is that their personality will be completely wiped from their body to be used to the organization’s own ends. This could be as much as providing a client with the perfect sexual encounter or an assassination of sorts. It provides an interesting method of varying episodes to romp through from week to week.

Except these weekly ventures never garner any real depth for the first few episodes of the show. While it’s hinted at that Dushku’s character may be some sort of bad ass, it’s hard to care considering she’s someone new each week until she’s turned back into a doll. What’s more, when you find out why she’s there in the first place it makes it even harder to care. Unless you’re a radical animal and weed loving campus hippie that only eats organic food and never votes conservative, Echo just seems like a stupid kid that got in way over their head chasing a naïve ideal.

Eliza Dushku doesn’t even have the whole “hot” thing going for her, either. At least James Cameron had the sense to cast a decently attractive Jessica Alba for Dark Angel, but Dushku is way too thin for starters. Any attractive facial expressions she has are often countered by equally unattractive ones. At best she looks to be packing a decent booty once in a while, but considering how often your attempt to look at her not-so-grand rack is met with an eye full of ribcage, the girl really ought to eat a few cheeseburgers. Overall, there is little reason to watch Dollhouse for the main character. In fact, almost the opposite.

Fortunately for Whedon, he’s creative enough to create a vibrant cast of side characters that provide a much more interesting and involving setting. While the goals of those running the Dollhouse are questionable, the audience is given time to warm up to them and see that they are just as human as anyone else. On the inside is an ex-cop hired as a handler who doesn’t believe in the service, but also has an emotional attachment to Echo and thus feels compelled to protect her. Then there’s our FBI Agent that is a joke amongst his peers but strong in his convictions.

It is the trials and personalities of the side characters that cause the show to become interesting. Unfortunately, it takes about half the season before they are the focus instead of Echo’s latest escapade into the world. Similarly, by the end of the season you have a sort of Cylon effect from Battlestar Galactica. The first time what seemed like a normal human character actually turned out to be a doll, it was a relatively surprising moment. The next couple of times it just started to become groan-inducing. It only begs to wonder who is going to be a doll in season two.

In addition, I will honestly say I was underwhelmed by Alpha, the villain of the first season. The build-up to the character and his first episode appearance led me to believe we were dealing with some sort of awesome genius intending to mock the Dollhouse by exploiting their strengths and weaknesses alike. In the end, he turns out to just be a crazy mish-mash of ideas that are, quite frank, desperate in nature to find greater value in oneself. This is, of course, no surprise. Even in Firefly Whedon loved to build up villains and experiences as being this great horrible thing, and in final execution they weren’t all that great. Let’s face it, the Reavers being a bunch of self-mutilating space cannibals really isn’t as bad or horrifying as let on. Partly because they’re insane and turned into animals instead of consciously making these choices. The best villains aren’t mindless nor are they grasping for strings to convince themselves of their own superiority. They are either the twisted minds that believe they are doing right or mockingly take advantage of the system of good. Zombies and weak men trying to be something more are boring and a dime a dozen.

Despite the complaints and criticisms, Dollhouse is still an excellent show. It will take some time to become interesting, and aspects of it may be relatively lame with their Lost-esque twists, but by the end of the season there is a lot of room left to grow. Where certain characters have been left and where they may develop has yet to be seen, and it provides great cause to want to catch in on the season premiere this week.

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