There’s a couple of things I’d like to say. And a few things I really can’t. First of all, I’m prouder of this show and the people I worked with on it than I can express in words, monkey noises, or hyroglyphics. I believe this has been some fairly great TV. And the experience of making it… I’ve had crew members who’ve been working for 20 years say they’ve never worked around such excitement, support and love. You walk on that set, you’re transported. The cast: 9 count ‘em 9 incredibly talented actors who are all decent, wonderful people. This phenomenon cannot be explained by science.
Second of all, don’t think for a second that I have given up on this show. I think it has been mistreated shamefully, but the Fox network has indicated that they would not stand in the way (which they can) of my finding a new home for the show. That’s no easy prospect. But I will do everything in my power, as always, to keep this bird in the air. Of course I’ll post if there’s any news.
But even if the show goes back up elsewhere, I’m going to lose a good portion of my crew. Production will halt, they’ll need to find new jobs. You can’t imagine how that feels. How much they brought to the table, how hard and well they worked. And their Christmas bonus is this. As much as the cast, the staff, and my not so secret lover Minear, I honor those guys, and hope to get them back on board.
So for now, I proudly take my place beside Profit, The Ben Stiller Show, the Tick, and Action. But I won’t rest until I’ve found safe harbour (no, not the Gregory Harrison show) for this vessel.
“Whedon has done a lot of shows about magically powerful women and the men who protect them (Buffy had Giles, River had Simon and Mal), which is sweet - hey, at least they aren’t actively seeking to take power away from those women - but also paternalistic and troubling, and in Dollhouse he seems to know and specifically address just how creepy it is. Lots of parallels have been drawn between the “handler,” Boyd, who is a protective father figure to Echo, and Giles, who is a protective father figure to Buffy, and those parallels are correct. However, this time around, Boyd is also directly invested in keeping Echo powerless: he’s the guy in the creepy van, who takes her back to the Dollhouse to have her self taken away once she’s served her purpose, and if she were a whole person, she might not need him at all. The question of whether he loves her enough to help her free herself is continually raised. Paul Ballard, the FBI agent who wants to “save” Echo, is also implicated: a hero, sure, but also weirdly and sexually preoccupied with “saving” a girl he doesn’t know so that she will love him, a person just as involved in projecting his desires onto a blank slate as any Dollhouse client. The show doesn’t steer around that fact. You don’t hate these men - you love them, in fact - but Whedon is far more willing than ever before to implicate them in the oppression that he condemns. He’s toyed with ambiguity and complicity before, but this time around, ambiguity and complicity are what the show is about.”—Tiger Beatdown: Dollhouse, Joss Whedon, and the Strange and Difficult Path of Feminist Dudes: Some Thoughts (via notemily)