Just Shoot Me! 1×03 – Secretary’s Day

Episodes like Secretary’s Day make me extremely nostalgic. It’s filled with work hijinks such as Finch refusing to accept he’s just a secretary and Nina testing out breast implants, and it guest stars Jay Leno in a cross-promotional marketing attempt from NBC. Ah, the good old days.

Still, this was much better than the second episode. The fact that the teaser alone gives you everything you need to know about the show’s main plots is a brilliant writing move. Wally answering Maya’s phone for her makes him seem like her secretary, and him yelling out from the balcony “large breasts” is a clue to Nina’s subplot. The writing is truly impressive here.

Another thing that’s immediately lovable about this show is the character dynamics. Nina and Elliot have outstanding moments in this one alone, but it’s Jack and Finch’s final heartwarming sequence where Maya’s dad recognizes his partner of 8 years as more than just a secretary. Sure, he gives him a fake title (Vice President of Section 4), but it’s a nice and hilarious gesture to bookend this episode on.


– I could have lived without seeing Finch stuck in a cage with a gorilla, but it was a funny gag.

– I cracked up when Finch threw away the glass during his ‘moment’ with Jack at the end. David Spade absolutely kills it with his facial expression here.

– I like that Nina and Maya bond for a brief second as Maya convinces her that she doesn’t need a boob job.


Maya: I once did a news report on the dangers of plastic surgery, and do you know what the statistics say?
Nina: Yes, that nine out of 10 men prefer women with big breasts.
Elliot: And the 10th guy preferred the nine other men.

Elliot: You know, for whatever it’s worth, when I was in the fourth grade, I played the king in my school play, and I got so nervous that I started to cry right in the middle of my fight scene.
Finch: So?
Elliot: So…thank God it wasn’t televised. (laughs)

Jack: Man, I love scotch, and not just the taste. I mean the ritual. Pouring it into the perfect glass. Letting the ice melt just enough. (shakes the glass so the ice rattles) Listen to that sound. I love scotch almost as much as I love cigars. Man, I love cigars. The way they smell–you know what I love?
Finch: When the rambling ends.



Just Shoot Me! 1×02 – The Devil and Maya Gallo

There’s a bit of a tonal difference in the show’s second episode, particularly in the way Maya behaves when she sees the perks of working at her father’s extravagant fashion magazine. Luckily, the writing salvages this bit of uncharacteristic flaw by turning the episode around in the final act. I just love the gang’s meeting at the end where Jack says he wants more articles covering serious matters in the future; as sappy as it might sound, it really works.

Once again, Nina absolutely steals the show. After realizing just how much attention Maya is getting for being the boss’s daughter, she feels threatened and worried about losing her job. Little details like breathing heavily into an expensive purse instead of a plastic bag, hiding alcohol in Raisin Bran boxes, and teasing Finch about how short he is make this subplot a true delight.


– Hilarious moment as Elliot claps when Jack mentions Maya’s name in the first meeting, then pretends he’s squatting a mosquito.

– I don’t remember Wally, Maya’s roommate, at all, so it’s kind of a surprise he’s making a lot of appearances here. Chris Hogan is quirky and funny, but he does seem like he’s trying too hard sometimes.

– Hysterical moment as Nina is praising Maya after thinking she won’t be working at Blush anymore, only to furiously get up and scream “YOU!” when she sees her walking into the meeting.


Jack: Okay, let’s begin the meeting. Photo department?
Elliot: No problem.
Jack: Beauty and fashion?
Nina: Under control.
Jack: Bagels and juice?
Finch: In your office.
Jack: Gosh, this was the best meeting ever.
Maya: Wait, what about my story ideas?
Finch: Shhh, if you say them out loud, they won’t come true.

Nina: She’s new, she’s fresh, she’s got ideas. Yeah, well, the writing’s on the wall and it says “Adios, Nina”. Damn, this was the year I was gonna open a savings account.
Finch: Hey, I’m as upset as you are. I just don’t have the worry lines to prove it.
Nina: One more crack like that, and I’ll put the M&Ms on the high shelf.

Model: Excuse me, do you have the time?
Finch: Why, yes, it’s approximately 2-pretty.

Jack: It’s funny. You hardly ever cried [as a baby].
Maya: Oh, sure I did. It was just hard to hear from the golf course.

Jack: Allie’s at the gym. Apparently, cellulite is more vulnerable at night. I don’t know where she gets the energy.
Maya: Well, she’s on that special program where she’s half your age.

Jack: I know you all probably have questions about Maya’s role here at the magazine.
Elliot: Well, my question is how long till Nina drinks the rest of the Raisin Bran?

Jack: I just happen to think our readers have grown more sophisticated. I know my new wife is smarter than any of the last three.
Finch: And I’m sure the next one will be smarter still.


Just Shoot Me! 1×01 – Back Issues

I absolutely adore this show.

Way before I even discovered Friends, I grew up watching sitcoms that were set in a TV workplace. Just like the highly underrated NewsradioJust Shoot Me! immediately became one of my favorite childhood shows, so much that it made me want to work at a magazine myself one day.

Watching this snappy pilot, I thought I was heading into a premiere full of 90s vibes and nostalgic characters. While both of those things are certainly prevalent in Back Issues, I’m more than shocked to realize just how sharp this show is – right from the start. The writing is unexpectedly nuanced, the humor is right off the bat witty (I’m talking Buffy-like ‘witty’), and the characters immediately fully realized. A part of me feels that I loved this show as a kid because I wanted to be transported to a world of workplace hijinks and, of course, the stunningly charismatic Wendie Malick. I don’t think I even understood half the jokes back then, which will certainly make this rewatch all the more eye-opening.

Don’t get me wrong; there’s plenty of laugh-out-loud sitcoms on the air right now. I’m in love with Superstore and The Good Place, both of which are also NBC comedies (as was Just Shoot Me!), but I can’t help but feel that shows nowadays are highly dependent on the performers. The Good Place has its fair share of witty humor, but Just Shoot Me! made its performers with its sharp writing.

Malick is immediately lovable as Nina Van Horn, the former model and fashion correspondent at Blush magazine, and brilliantly brings this character to life almost seconds after she is introduced. Nina is one of my all-time favorite characters on television and she outshines even Maya during the show’s run. While I don’t really love David Spade nowadays (I detested his entire role on 8 Simple Rules), Dennis/Finch had a couple of amusing lines in this pilot. Also, it’s impressive how little Maya has to do to win us over as the main lead. Laura San Giacomo is charismatic and fits the title role immediately as the writer/journalist who desperately joins her father’s fashion magazine to make ends meet, and she plays off the rest of the lovely cast quite perfectly.

Another thing I absolutely love about this show, and certainly one of the things that make it most memorable for me, is its wildly creative mock-up Blush covers that weigh viewers in on some of the episode’s plots. I always looked forward to reading those headlines and trying to decipher the text; it’s a smart little bit of creative storytelling device that most shows nowadays really lack.

Finally, Just Shoot Me! has a lot of heart. In particular, Maya’s talk with her estranged father at the end of the episode (quoted below) honestly brought tears to my eyes – and how often can we say that about characters we just met?


– I love the title credits with the pencil breaking at the end. It’s a bit outdated for 2017, sure, but it still warms my heart.

– Hilarious introduction of Nina as she walks in, sunglasses and all, and starts picking at the models.

– You can see some of the crew’s equipment during one shot, especially the microphones floating over the characters’ heads. Oops.


Anchorwoman: As I have told you over and over again, it should be “New York city police officials tell me gang violence is down”. That way, I am involved in the story.
Maya: You know, you’re right. People would love to see you involved in gang violence.

Nina: Welcome to Blush, America’s premiere glamor magazine. I am, of course, Nina Van Horn. My face appeared on over 40 covers. I was the Noxema Gotcha girl. You know… Gotcha. (the models just stare at her) Yeah, well, ask your parents.

Nina: Well, I want my old job back, but chances are that’s not gonna happen, but remember, just the fact that you’re here at all is something to be proud of. You’d be amazed at how many girls can’t find the building.

Nina: Honey, I don’t know who your agent is, but you need to grow six inches, lose 20 pounds, and find a hairdresser who gave up cocaine with everyone else.

Nina: You know, dear, you can understand why I didn’t recognize you. I mean, there’s virtually no resemblance.
Maya: Go away.
Nina: Ah, there it is.

Jack: Don’t you have a birthday coming up?
Maya: Yeah, in about 11 and a half months.
Jack: Good, I was afraid I missed it.

Jack: Don’t play innocent. You were heckling our wedding vows.
Maya: You let the woman quote The Lion King!

Maya: It just hit me. You are your magazine. You’re glossy, you’re slick, the cover’s great, when you open it up, there’s nothing inside.
Jack: I’ve got another one for you; I get fat in December.

Maya: Don’t you ever worry about the message you’re sending?
Elliot: (covers his eyes) Oh, hell, you’re one of those.

Finch: (into the phone) Maya says congratulations, but it’s in a tone that connotes disinterest. (Listens) Ooh, 8 pounds, 12 ounces.
Maya: Ouch.
Finch: (into phone) She’s making sport of your courageous wife’s pain. (Listens) Yeah. Blue eyes, dark hair, great lungs.
Maya: Just like Elvis.
Finch: (into phone) She’s comparing the baby to a bloated drug addict.

Jack: I’m terrified I’m gonna make the same mistakes with her that I made with you.
Maya: Then don’t. You know, there’s nothing magic about it. That’s your daughter in there. When she holds out her arms, pick her up. When she has a dance recital, don’t be in a meeting. And when she tries to push you away, don’t let her. It’s not what she really wants. Make her a part of your life. The rest will fall into place.


Breaking Bad 1×02 – Cat’s in the Bag…

That’s how you do a second episode.

I was worried that after the stellar pilot, the show would drag the story out for a few more episodes, especially after I’ve heard warnings about the first season being the weakest in an otherwise near-perfect series. Luckily, Cat’s in the Bag… moves the plot forward as Walter and Jesse try to find a way to get rid of the body they killed while Skyler’s suspicions lead her to Jesse’s house. Both were welcome and surprising developments for a second episode, even if it means Skyler has to be lied to and manipulated a little longer.

Of course, the tension escalates when Jesse, frustrated by Walter, takes matter into his own hands and melts Emilio’s body in the bathtub. Because hydrofluoric acid melts many things, including ceramic (thanks, Walt), the result is the bathroom floor literally crashing down in front of Walter and Jesse. The shot of the decomposed flesh and bone on the floor is a haunting and simultaneously amusing moment, both tones which Breaking Bad seems to masterfully interchange in the course of one hour.

If there’s another thing that is quite impressive about this show, it’s the absence of any useless subplots. These are the things that usually weigh an episode down, but so far there is none of that here, which is a huge relief. Let’s hope they keep it that way.


– I love that this episode starts exactly where the pilot ends, with Walter and Skyler having sex. However, there was absolutely no need for another media in-res opening. Why can’t writers let go of this horribly overused trope?

– The look on Skyler’s face when she hears Jesse’s voicemail message: priceless!

– Shocking moment in class as Walter mistakes one of his students saying “murder” for “midterm”.

– The zoomed-out shot of Jesse trying to fit into the plastic container was hilarious.

– Beautifully shot scene with Walter sliding water, food, a bucket, and toilet paper to his prisoner, all from out of frame.

– Hilarious sequence with Walter lighting up a joint and having a smoke.

– Heartbreaking moment during Skyler’s sonogram as Walter realizes he won’t live long enough to see his daughter grow up.

– Walter lashing out at his wife was strangely satisfying.

– Perfectly ominous final scene as two kids find the gas mask in the desert.


Jesse: You know there’s like a Starbucks at every corner? Krazy-8 is like the dude that sells Starbucks his beans.

Walter: What is his reputation for violence?
Jesse: Well, um, he did try to kill us both yesterday, so there’s that.

Walter: Look, you skipped, clowned around or otherwise jerked off to every lecture I ever gave. As far as I’m concerned, your chemistry education is over.

Walter: I haven’t been myself lately, but I love you. Nothing about that has changed. Nothing ever will. So right now, what I need is for you to climb down out of my ass. Can you do that? Will you do that for me, honey? Will you, please, just once, get off my ass? You know, I’d appreciate it. I really would.


Breaking Bad 1×01 – Pilot

I’ve seen this pilot more times than the Friends pilot, believe it or not, and each time it leaves me with a different reaction. I don’t know why I never watched this show back when it aired (too much hype and unreasonable expectations maybe?) because I really loved this premiere this time.

While slow-burning shows are usually not my cup of tea, what makes Breaking Bad gripping (at least for now) is its wonderfully layered main character. Walter White, masterfully played by Bryan Cranston who I never truly appreciated until now, completely sells you on this show’s premise in which a terminally ill high-school chemistry teacher starts cooking illegal drugs. His partner in crime, Jesse Pinkman, a young crystal meth cook and dealer, has just enough conflicting quirks and qualities to make their dynamic all the more entertaining. It’s no surprise both Cranston and Aaron Paul (Jesse) have won multiple awards (including Emmys) for their performances throughout this show’s five-year run; they surely deserve it.

The pilot is also quite enjoyable with its meticulously written script; there are enough one-liners and dark humor to satisfy almost anyone, making the show feel much more grounded in reality than I would have imagined. In addition, there are a couple of nifty shots that are truly beautiful. Whether it’s the opening shot of Walter’s pants flying in mid-air or the well-executed montage of our two misfits cooking meth inside the RV, this is a show that demands your attention any time you start feeling like you’re about to doze off due to its slow nature and steady plotting.

Color me intrigued.


– Walter nervously holding the gun at his birthday party is hilariously awkward.

– I can already tell I’m going to hate Hank.

– Another awkward moment: Skyler giving her husband a handjob in bed and him not “responding”. I don’t know how I feel about Walter’s better half yet; I was surprised she got a lot of screen-time.

– Doctors breaking “bad news” to a character is a very tough scene to sell because it’s been done SO many times. However, I love how Walter focuses on the mustard stain on the Doc’s labcoat. Very realistic.

– I love that there’s a character called Krazy-8. Hilarious.

– Heartbreaking scene as Walter White Jr. gets mocked at the store for needing his dad’s help to try on jeans.

– Amusing moment between Skyler and Marie as they discuss Skyler and Walter’s sex life (or lack thereof). Do I sense tension between the ladies?

– Haunting sequence as Walter points the gun at himself and pulls the trigger.

– Brilliant twist with the sirens revealed to be firetrucks and not the cops.

– Loved the final scene as Walter makes love to his wife. It’s a poignant scene that bookends the premiere effectively while still wanting us to learn more.


Walter: Fuck you, Bogdan.
Bogdan: What?
Walter: I said fuck you! And your eyebrows!

Steven: What do you call that?
Hank: Green?
Steven: Sage.
Hank: Sage. What, do you work at the fucking Pottery Barn? Sage.
Steven: That’s the word for it. My fault the only word your dumb ass knows is green? Cheese-dick.
Hank: I know that one, how ’bout that?
Hank: Anyway, it’s the sage one.

Marie: How’s the sex?
Skyler: Marie, Jesus!
Marie: (to herself) That answers that.

Walter: Did you learn nothing from my chemistry class?
Jesse: No, you flunked me. Remember?
Walter: No wonder.

Jesse: We’re not gonna cook here, ok? This is my house. I don’t shit where I eat.


“Dollhouse” 2×13 – Epitaph Two: Return

What an ambitious series finale.

Over the course of two uneven seasons, I watched Dollhouse juggle standalone cases, serialized arcs and high-concept science fiction, and while I don’t imagine I’d call this show one of my favorites, it’s certainly the most challenging and ambitious pieces of television I have ever seen. It was a relief, then, to discover that its finale, an appropriately difficult and mythology-heavy episode, goes out with a bang.

Joss Whedon must truly love the apocalypse because he brings it back for the zillionth time in Epitaph Two, but it is truly unlike anything we’ve ever seen before. There’s a depressing tone to the finale at first as we try to catch up with all the characters in 2019 — Sierra is raising a child on her own, Victor is using high-tech to fight butchers, Topher is mentally unstable, Adelle is a mess, and Caroline is still fighting the good fight — but once the entire gang is reunited and they’ve made their way back to the hole they were running away from for years, everything changes.

I’m not only talking about how sincere and honest Alpha seems (but that’s definitely worth mentioning); the show itself switches tones entirely. The dialogue becomes playful (the gang giving Paul a hard time for making a cringe-inducing inspirational speech was hilarious) and the characters suddenly become hopeful. There’s a delightful look on Echo’s face as she makes her way back to the Dollhouse and hears one of the Actives saying “I always try to be my best”, and even though the show ends with so many deaths (RIP, Topher and Paul), there’s a lot of positive energy at the very end. How often can you say that about a Whedon show?

I never thought I could come across a show that was half as thematic as Buffy (or Angel sometimes), but Epitaph Two is crammed with beautiful symmetry and stunning parallels. I love that Alpha leaves Paul’s wedge for Echo on “the chair”; after all, he was the one who stole it and imprinted himself with it just a few episodes ago. In addition, the fact that Echo ends up with both an imprint of herself and Paul is a brilliant way to bookend this character’s journey. She was lonely her whole life and now she will literally always have Paul with her. Superb and heartwarming.

Finally, for me, a show is only as memorable as its very last shot. Luckily, Dollhouse produces what is my second favorite final sequence in television history (after Angel, of course) as Echo (with Paul also inside her head) returns to her Dollhouse pod, only this time she leaves it open, probably for the very first time. The overhead shot as Echo smiles in her bed is a stunning and beautiful symmetry of her new profound freedom – and I couldn’t have possibly imagined it would end any better myself.


– Haunting scene as Mr. Harding has a lineup of male bodies to choose from – and the very last one is Paul.

– Adelle looked like a homeless person throughout this episode. And that makes sense.

– Badass, goosebumps-worthy fight sequence with the freeze-frames on Echo’s flashing light every time she fires her weapon. The powerful, chilling music was oh-so very fitting. What an immensely satisfying scene.

– Gut-wrenching moment between Echo and Sierra as the former breaks down after Paul’s death: “I’m all alone, I’m always alone”.

– I love that Sierra and Victor got their happily ever after with their son. These two really were the heart of this show from the very start.

– You can tell how the show switched from a depressing tale of the apocalypse to an uplifting story when we see strawberries in the garden, the symbols of life and rebirth.

– Zone and Mag (who were also in the unaired Epitaph One) were also great here. Their dynamic gave me The Walking Dead vibes.

– We never got to know what the little girl is really like! I kinda liked her as Caroline.

– Heartwarming moment with Adelle hugging Echo before the pulse.

– Nice symbolism with Victor and his son Tony (named after his dad) burning tech in the campfire.

– It’s fitting that Bennett is the one that helps Topher figure out how to save the world throughout one of her old videos, but it’s sad that we couldn’t see Claire or Boyd again.

– Overall, season two was a stunning improvement over the first one. The fact that a show that was destined to doom from the start with its high-concept, dense mythology ended on such a high note is a towering achievement, and I’m glad I stuck with it for the very end.


Paul: I’ve been knocking ten years. You still won’t let me in.
Echo: I let you in a few times.
Paul: When you were sure we were going to die. What happens if you’re sure we’re going to live?

Paul: (to Echo) I think you’ve got a hundred people living inside your head, and you’re the loneliest person I know.
Echo: That’s kind of sweet.
Paul: Not for the person who’s with you.

Alpha: We’re not freakshows! Well, okay, maybe I am. And Echo. Topher’s a little off. But Adelle, she’s a class act all the way.

Alpha: (about the Dollhouse) It was like this when I bought the place.

Topher: Reflection. Like an echo. Put things back the way they were, minds back the way they were. I can bring back the world.

Adelle: I’m very glad you didn’t clean up.
Alpha: Yeah, it spoke to the schizophrenic in me. Well, both of them actually.

Topher: (to Adelle) I’ll fix what we did to their heads. You fix what we did to the rest of the world. (whispers) Your job is way harder.

Adelle: (to Echo) Alpha said to dismantle all the tech in the building. He said you should start with the chair.

Paul: Am I–Are we…
Echo: You wanted me to let you in.
Paul: You sure you got room? I got a lot of baggage. Childhood stuff.
Echo: We’ll work through it. We’ve got time.


“Dollhouse” 2×12 – The Hollow Man

Well, that was horribly rushed.

Everything about The Hollow Man has a series finale vibe to it, but sadly not everything works. The manner in which we go from “we trust Boyd” to “Boyd is evil” is extremely rushed, it barely has an emotional effect on us. Whereas a development like this should have been game-changing for the audience and characters alike, due to time constraints (and FOX, ugh), this particular twist ends up falling flat – unlike what I originally thought of it in the cliffhanger last time.

Dr. Claire Saunders’ arc is equally disappointing, probably even more than Boyd’s, and that’s largely due to the horrendously choreographed Claire/Echo fight sequence. The hand-to-hand combat scene should have been at least entertaining to watch, but unfortunately it just looked like someone from the editing room pressed FastForward repeatedly. Unacceptable.

What salvages The Hollow Man from completely going off the rails from its hectic plot developments is the amusing dynamic between Victor and Sierra (who, by now, I should probably start calling Anthony and Priya). Victor being Topher 2.0 was just as delightful and hilarious as last time, and the fact that he and Sierra figure out Boyd’s secret before Paul (who was frustratingly idiotic this week) was impressive.

Thankfully, the penultimate episode ends on a gritty and effective note with a ten-year time jump (only a 3-year jump if you’re watching in 2017 like me, which is depressing), revealing that the Dollhouse team didn’t really prevent the apocalypse, even after taking down Rossum. It’s the only exciting thing about this hugely anticlimactic and underwhelming hour, and I’m very cautious about heading into the series finale now.


– How did Echo even survive after all those needles that were stuck in her back? And can we say ouch?

– As expected, Mellie dies a horrible and anticlimactic death. I can’t believe how rushed and unnecessary her return was, only to have her demise be just as disappointing. So long, Mels, we barely knew ya (literally).

– Boyd using Adelle’s recorded voice of the damn vase to switch Mellie back to sleeper mode was a stroke of genius, but is the show gonna end without revealing the secret behind that vase? The curiosity might just kill me.

– I wonder if that’s actually Echo or Caroline ten years later.

– As much as I’m intrigued about another Epitaph, a part of me does think the time jump is a bit of a cop-out. Especially for a finale.


Topher: I did all this. I’m the one who brings about the thought-pocalypse.
Adelle: Thought-pocalypse?
Topher: Is brain-pocalypse better? I figure, if I’m responsible for the end of the world, I get to name it.


“Dollhouse” 2×11 – Getting Closer

The twists keep piling up as Dollhouse nears its tragic end in Getting Closer, a thrilling hour that brilliantly brings together several storylines in exciting fashion.

My favorite thing about this episode are the Caroline-centric flashbacks. Eliza Dushku may not know how to play Echo (as I might have mentioned already), but she perfectly balances Caroline’s heroism with her idealism in a way that feels truly natural. Her days back at Tucson were particularly heartwarming to watch, and Dushku’s dynamic with Summer Glau, who looked especially gorgeous this week, was a welcome development. If only we could have seen more of their sisterhood before.

Getting Closer also managed to shock me twice. Not only does Dr. Claire Saunders return (and she’s dating Boyd!), but she also murders Bennett right in front of Topher’s eyes. It’s a welcome development because I was beginning to feel like the show was getting overcrowded with characters who weren’t doing anything. And as much as I am disappointed in Sierra and Victor being horribly underutilized this season, a part of me is glad they got to escape the Dollhouse and (maybe) live their happily ever after away from this hellhole.

The biggest shock, however, is the final reveal that Boyd is Clyde’s partner and co-founder of Rossum. It’s a twisty, jaw-dropping moment that flips the show’s entire status quo in a stunning sequence that perfectly parallels Caroline’s flashbacks with her present-time escapades. It’s a rushed development, for sure, but it’s without a doubt the show’s most exciting cliffhanger so far, and it makes me want to power through the next and final two episodes right away. Wow.


– Chilling ominous moment with Bennett asking Caroline via flashback what she wanted to study in college and the latter responding that she’d like to be “a lot of things”.

– Loved seeing the video of Caroline again, which was first introduced way back in the pilot. Nice continuity.

– Sad moment with Echo wondering if she’s a real human or not.

– Paul’s imprint made him lose that connection he had with Echo. Sounds a little forced to me.

– Mellie’s subplot is horrible now. I don’t see the point in bringing her back now that the show is absolutely incredible. Something about the actress I just don’t like.

– Topher was actually amusing in this episode, hilariously making a fool out of himself in front of Bennett.

– It was nice seeing Evil Dominic again.

– Chilling final shot between Caroline and Boyd. I can’t wait for Echo to be imprinted with Caroline, just so I can see the look on Adelle’s face when she realizes who Boyd really is.


Man: Oh God, you’re a thief? I let a thief into the building?
Caroline: Relax, I’m not a thief. I’m a terrorist.

Echo: We haven’t really talked since you…died.
Paul: I guess we’ve both died since then.
Echo: Yeah. Weird week.

Adelle: Caroline Farrell left quite a trail of unhappiness in her wake and not a few bodies.
Echo: Are you saying she’s evil?
Adelle: Worse. An idealist.

Adelle: The flight not too exhausting, I trust?
Bennett: You used the company jet to abduct the programmer of a rival House.
Adelle: I’m certain I’ll be kicking myself come holiday bonus time.
Bennett: I’m sure you’ll be dead by then.

Boyd: You won’t be harmed in any way. You’re far too valuable.
Caroline: And I’m just gonna trust you?
Boyd: With your life.


“Dollhouse” 2×10 – The Attic

This must be Dollhouse‘s version of Restless, and by that, I’m referring to Buffy‘s flawless and spectacular fourth season finale.

Much like that show, Dollhouse goes full-on experimental when its characters are put into the finally-revealed Attic where they all get to live (and relive over and over) their very worst nightmares. It’s a mindbending, visual treat that never has a dull moment, and it’s absolutely satisfying to finally watch Echo become the badass heroine we need to root for.

The twist that The Attic was created to power up Rossum’s mainframe through the Doll’s own brains is a brilliant revelation and is wonderfully treated as a well-written development. It’s these details that make me believe the masterminds behind this show always had everything thought-out in advance because a lesser show could have easily treated The Attic as simply a place of torture. But to have this haunting, unbelievable place be a huge part of the show’s mythology is a stroke of genius. Color me impressed.

Even better is that pulse-pounding, empowering ending. After a brutal and effectively harrowing montage showing Echo, Victor and Sierra dying in their own nightmares, the show pulls the rug from underneath with a jaw-dropping twist: Adelle and Echo have been working together this whole time to bring down Rossum. Once again, it’s not a Hollywood twist done for the sake of shock value (a la How To Get Away With Murder); it’s a marvelous reveal that makes sense from a writing standpoint and only shows that Adelle is truly the most complex character here.

Of course, The Attic doesn’t become nearly as brilliant as Restless. I probably sound like a broken record now, but Eliza Dushku continues to be mediocre at best (through no fault of her own because this is an extremely delicate and difficult role to master). Nevertheless, it does make the episode feel less of a masterpiece than it probably sounded on paper. Sad.


– Echo waking up in The Attic, escaping then having to watch Sierra and Victor get murdered in front of her was a horrifying and effective teaser. I was glued to my screen.

– Gorgeous visual of Echo standing underneath the tree covered in snow.

– I don’t know how I feel about Ivy possibly replacing Topher. I could hardly care any less about either character, although I have grown fond of Topher a little bit, I guess.

– I can’t help but feel underwhelmed about Sierra seeing the rapist she killed in her nightmare. I truly wanted this character to be more than just a rape survivor.

– Arcane, the faceless villain, reminded me of Black Panther.

– Victor’s fight scene with himself is actually Enver Gjokaj with his twin brother Demir.

– Hilarious meta moment with the gang wondering what year it was and Echo responding “2010, I think? I don’t know how long we’ve been off the air”.


Echo: (to Arcane) You’re not real. (he punches her) That’s real. That’s very real.

Sierra: In [my nightmare], I was constantly making love to you.
Victor: Oh?
Sierra: And then you’d turn into the rotting corpse of a rapist I killed.
Victor: Oh.

Echo: Nobody’s ever gotten out of the attic.
Adelle: Nobody else is you.

Echo: We’re one soldier shy. It’s time for me to meet Caroline. It’s time to win her war.


“Dollhouse” 2×09 – Stop-Loss

This show is finally becoming must-see television. I’m glad I didn’t give up on it, even when it was producing horrendous episodes.

The best thing about Stop-Loss, besides the fact that it’s another serialized episode devoid of any useless subplots, is that it focuses heavily on Victor. Enver Gjokaj gives his best performance yet as Victor leaves the Dollhouse and returns to his normal post-military life. It’s tough to get attached to a character who barely appears on a show, but Gjokaj is absolutely fascinating, especially when he’s just alone in his new modern house, unable to sleep. That image of him getting up from bed and going to sleep in the bathtub instead is truly mesmerizing.

Finally, I’d be remiss not to mention Adelle’s subplot in Stop-Loss. Granted, all she does is sit around drunk and complain about losing control of the house, but her final act of villainy, which includes taking Echo, Victor and Sierra to the Attic, is a harrowing and effective way of showing just how ruthless she can be. The fact that she’s still somehow likable and amusing to watch despite everything she has done so far is both a towering achievement and proof that these characters are layered, complex individuals.

Yes, it might be too late, but I’m officially hooked on Dollhouse.


– I’m enjoying the nostalgia on this show because, while Buffy was much richer and enjoyable to binge, it wasn’t heavy on pop-cultural references. And yes, I’m referring to this episode’s use of Lady Gaga’s Bad Romance.

– So Victor’s real name is Anthony Ceccoli. Interesting.

– Touching moment with Victor mistaking a woman at the club for Sierra.

– Did Dollhouse make an Angel reference by reserving a suite for Victor at the Hyperion? Pretty.Damn.Cool.

– The transition from Victor sleeping in his bathtub to Sierra in her underground bunker at the Dollhouse is beautiful. Seriously, this show can be just gorgeous sometimes.

– LOVED the music during Victor’s hide-and-seek fight sequence with the masked men at his apartment. The drums were such a unique and unexpected musical choice.

– Heartwarming moment between Victor and Sierra in the backseat of the car, wondering if this was their first kiss.

– Haunting final shot with Echo waking up in The Attic. How did that happen?

– In case I forget to mention this in the next (and final) four episodes: damn you, FOX. Why can’t we have nice things?


Adelle: (to Echo) All those people in your head, I know their deepest, darkest secrets. You’re forgetting who put them there in the first place.

Echo: (to Adelle) You may think all these people knocking around in my head are useless, but that’s 40 more brains than you have.

Sierra: My grandfather took me hunting in Gippsland once.
Echo: So you know how this works?
Sierra: I shot at rabbits! I didn’t hit anything.
Echo: Same idea, just bigger targets.

Victor: I’m Anthony by the way. You can call me Tony.
Sierra: Priya.
Victor: Nice to meet you. So, you’re from Australia?
Sierra: Maybe we should save the small talk till after the gun fight?

Adelle: (to Boyd) Sometimes, I think you were the one bonded to Echo, not the other way around.