That's about as coherent as I am right now. I'm going to have to rewatch, I think.
But one thing that struck me: the way the Mellie fight, with Paul running back to the flat in slo-mo, is a direct subversion of Kendra's death in "Becoming" - we know the hero will be too late, we know the poor sidekick is doomed (even if it wasn't a huge surprise to find out she's a doll). And then we flip it: yay! Mellie kicks his ass! Mellie... doesn't exist. And it's very doubtful, given his priorities and his methods, whether Paul can be considered a hero.
And the man-in-the-street interviews pretty much read like every commentary on Dollhouse so far, didn't they? From the "Of course it's just prostitution and human trafficking!" to the "Cool!" There's a reassurance in that: they know what they're doing, and we're supposed to be asking questions.
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Date: 2009-03-21 11:11 am (UTC)That's about as coherent as I am right now. I'm going to have to rewatch, I think.
But one thing that struck me: the way the Mellie fight, with Paul running back to the flat in slo-mo, is a direct subversion of Kendra's death in "Becoming" - we know the hero will be too late, we know the poor sidekick is doomed (even if it wasn't a huge surprise to find out she's a doll). And then we flip it: yay! Mellie kicks his ass! Mellie... doesn't exist. And it's very doubtful, given his priorities and his methods, whether Paul can be considered a hero.
And the man-in-the-street interviews pretty much read like every commentary on Dollhouse so far, didn't they? From the "Of course it's just prostitution and human trafficking!" to the "Cool!" There's a reassurance in that: they know what they're doing, and we're supposed to be asking questions.