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Dollhouse deserves to be on the air. It is likely the best show that Fox has going for it right now.
Not because it's pretty or sexy or mindlessly entertaining, which seems to be the criteria keeping most shows on the air, although it can be pretty at times. No, this show deserves to be on the air because it's a smart show that exposes the mechanisms of oppression.
It doesn't do this by putting a black hat on the villains and telling us that rape is bad. We don't need another one of those shows to reinforce the idea that only "those people" commit acts of rape, violence, oppression, and generally degrade their fellow humans. We don't need that kind of show to render the subtle forms of oppression and violation of consent to further that are the reality of our existence even more invisible than they are. What we need is smart talk about oppression. We need uncomfortable audiences to admit their own part.
So instead of handlebar mustache twirlers or cackling foes chewing on the scenery, the villains are normal everyday people who are committing horrifying acts against their fellow human beings… and we are drawn in for the process of their rationalization. They tell themselves continuously that what they are doing is good, for the clients and for the Dolls. Ignorance is bliss, right? However, every time you see a Doll realizing what's happening to her or him, they are violently opposed, disgusted, feel violated and try to escape. The handlers and staff of the Dollhouse tell themselves that they are helping people, that the Dolls are better off under their protection.
But they are wrong. Just like any person in society who becomes complicit in furthering the oppression of others with the "concern" of their "best interests and protection" (Adele DeWitt) or their own oppression (Claire Saunders), or are simply so callous and enamored of their own ego that they cannot fathom how violated and depowered the people they harm feel (Topher)1, the villains are complex, relatable, and in may ways human and deluded. The "saviors" of the oppressed (Paul Ballard and Alpha) are deeply self-interested, for the most part, feeling that they will be rewarded with the common 'whore's fantasy' when they bring Caroline to them. They'll save her, and then she'll belong to them. Only in both cases, Echo has refused to cooperate, and in the end, Echo/Omega sends Alpha running, telling him that he isn't her savior/prince after all2. The show doesn't exactly support the idea that there are people who are above all of this who can swoop in and save the oppressed. In fact, no one is really outside of it.
Even Caroline is given a reality check in "Omega" as she tries to blame herself for her predicament and excuse what the Dollhouse is doing: "I signed a contract." But Echo/Omega will have none of that. You can't sign a contract to make yourself a slave. She was coerced into it, and we watched that in both her case and Sam's case. When it comes down to it, the Dollhouse has been likened to child molestation, human trafficking, prostitution, and slavery. And it is all of these things. In "Man on the Street" it is said clearly by one of the people interviewed—this is the end of human civilization. We're over. If we allow this kind of thing to continue, we cease to be civilization, people, human.
Unfortunately, working your way out of your own oppression and undoing the double consciousness that you have learned your entire life is a difficult process no matter what your standpoint is. Echo's story in the first five episodes involve her trying to lift this double consciousness, to come out of the haze they have her in, and slowly she begins to remember, begins to become conscious. In "Needs" the double consciousness that the Dollhouse has placed on the Dolls to make them think that what they are doing is what they want to do (not unlike convincing women that they want to diet, that they want to be sexuality available, etc.), is lifted and they are able to follow their needs and wants, but in the end, they go back into the situation of oppression, because those in power are in fact, very powerful. Too powerful for any one burst of energy to undo it all. The Dollhouse is connected, worldwide, systematic. Systematic oppression cannot be undone the way Caroline once thought that she could do it. And her time here is hopefully giving her the tools to fight oppression more wisely.
And, hopefully, it will give some of the audience members the same tools. As Foucault has argued, power is everywhere, but so is resistance. We're seeing a narrative that acknowledges that there is no space from which to critique that isn't a part of those power structures or the ideology that infects them. On the contrary, all the characters must find a way to resist in spite of the power over them or the power they may have access to and unconsciously exploit.
The Dollhouse isn't a whorehouse. It's all of fucking society. Not only Johns are implicated here, but all of us. That isn't a comfortable position to sit in, but the truth isn't always comfortable. Unlearning the lies about consent that we have been taught (ask the 'man on the street' what rape really is, and see if they comprehend. Some will, and some will tell you that "girls mostly lie" or paint it as the woman's fault.) is hard work. But I think this show exposes these issues to be talked about.
If there is a next season, and clearly I hope there will be, then I wonder how this will all unfold. The final scene has been read differently. My friend and I immediately assumed that Echo remembered all of the personalities and was pretending to no longer be conscious. Others have assumed that she was wiped again and must again fight her way to consciousness (which only reiterates the narrative of the difficulty of getting out of this situation). In either case, now we have a multitude of characters in different positions who might be able to fight from without or within. There are many, many possibilities, and the show has been good at surprising me.
This may not feel as immediately empowering a show that has a woman with superhuman strength beating all of her problems to a pulp, but as someone who can relate to Caroline's idealism, Echo's problems with trapping herself due to her need to help people, and Omega's outright anger at Alpha, the Dollhouse, and herself, I feel that this is a story worth telling. I hope it has the chance to explore these concepts of consent over the course of a few more seasons, at least.
1. Although some may just squee over Topher, I can't account for how everyone engages with a text. I can say that Topher's sympathetic qualities, for me, are far overweighed by his cold detachment to the Dolls and his complete lack of empathy or morality regarding them, even when being directly confronted by one and told how disgusting he is. The first time I've truly felt for him was in the last episode "Omega" when Whiskey tells him that she hates him, and he looks as though, for a brief moment, that his conscience might be waking up. One can hope.
2. This was immensely gratifying. I cannot tell you how much.
Not because it's pretty or sexy or mindlessly entertaining, which seems to be the criteria keeping most shows on the air, although it can be pretty at times. No, this show deserves to be on the air because it's a smart show that exposes the mechanisms of oppression.
It doesn't do this by putting a black hat on the villains and telling us that rape is bad. We don't need another one of those shows to reinforce the idea that only "those people" commit acts of rape, violence, oppression, and generally degrade their fellow humans. We don't need that kind of show to render the subtle forms of oppression and violation of consent to further that are the reality of our existence even more invisible than they are. What we need is smart talk about oppression. We need uncomfortable audiences to admit their own part.
So instead of handlebar mustache twirlers or cackling foes chewing on the scenery, the villains are normal everyday people who are committing horrifying acts against their fellow human beings… and we are drawn in for the process of their rationalization. They tell themselves continuously that what they are doing is good, for the clients and for the Dolls. Ignorance is bliss, right? However, every time you see a Doll realizing what's happening to her or him, they are violently opposed, disgusted, feel violated and try to escape. The handlers and staff of the Dollhouse tell themselves that they are helping people, that the Dolls are better off under their protection.
But they are wrong. Just like any person in society who becomes complicit in furthering the oppression of others with the "concern" of their "best interests and protection" (Adele DeWitt) or their own oppression (Claire Saunders), or are simply so callous and enamored of their own ego that they cannot fathom how violated and depowered the people they harm feel (Topher)1, the villains are complex, relatable, and in may ways human and deluded. The "saviors" of the oppressed (Paul Ballard and Alpha) are deeply self-interested, for the most part, feeling that they will be rewarded with the common 'whore's fantasy' when they bring Caroline to them. They'll save her, and then she'll belong to them. Only in both cases, Echo has refused to cooperate, and in the end, Echo/Omega sends Alpha running, telling him that he isn't her savior/prince after all2. The show doesn't exactly support the idea that there are people who are above all of this who can swoop in and save the oppressed. In fact, no one is really outside of it.
Even Caroline is given a reality check in "Omega" as she tries to blame herself for her predicament and excuse what the Dollhouse is doing: "I signed a contract." But Echo/Omega will have none of that. You can't sign a contract to make yourself a slave. She was coerced into it, and we watched that in both her case and Sam's case. When it comes down to it, the Dollhouse has been likened to child molestation, human trafficking, prostitution, and slavery. And it is all of these things. In "Man on the Street" it is said clearly by one of the people interviewed—this is the end of human civilization. We're over. If we allow this kind of thing to continue, we cease to be civilization, people, human.
Unfortunately, working your way out of your own oppression and undoing the double consciousness that you have learned your entire life is a difficult process no matter what your standpoint is. Echo's story in the first five episodes involve her trying to lift this double consciousness, to come out of the haze they have her in, and slowly she begins to remember, begins to become conscious. In "Needs" the double consciousness that the Dollhouse has placed on the Dolls to make them think that what they are doing is what they want to do (not unlike convincing women that they want to diet, that they want to be sexuality available, etc.), is lifted and they are able to follow their needs and wants, but in the end, they go back into the situation of oppression, because those in power are in fact, very powerful. Too powerful for any one burst of energy to undo it all. The Dollhouse is connected, worldwide, systematic. Systematic oppression cannot be undone the way Caroline once thought that she could do it. And her time here is hopefully giving her the tools to fight oppression more wisely.
And, hopefully, it will give some of the audience members the same tools. As Foucault has argued, power is everywhere, but so is resistance. We're seeing a narrative that acknowledges that there is no space from which to critique that isn't a part of those power structures or the ideology that infects them. On the contrary, all the characters must find a way to resist in spite of the power over them or the power they may have access to and unconsciously exploit.
The Dollhouse isn't a whorehouse. It's all of fucking society. Not only Johns are implicated here, but all of us. That isn't a comfortable position to sit in, but the truth isn't always comfortable. Unlearning the lies about consent that we have been taught (ask the 'man on the street' what rape really is, and see if they comprehend. Some will, and some will tell you that "girls mostly lie" or paint it as the woman's fault.) is hard work. But I think this show exposes these issues to be talked about.
If there is a next season, and clearly I hope there will be, then I wonder how this will all unfold. The final scene has been read differently. My friend and I immediately assumed that Echo remembered all of the personalities and was pretending to no longer be conscious. Others have assumed that she was wiped again and must again fight her way to consciousness (which only reiterates the narrative of the difficulty of getting out of this situation). In either case, now we have a multitude of characters in different positions who might be able to fight from without or within. There are many, many possibilities, and the show has been good at surprising me.
This may not feel as immediately empowering a show that has a woman with superhuman strength beating all of her problems to a pulp, but as someone who can relate to Caroline's idealism, Echo's problems with trapping herself due to her need to help people, and Omega's outright anger at Alpha, the Dollhouse, and herself, I feel that this is a story worth telling. I hope it has the chance to explore these concepts of consent over the course of a few more seasons, at least.
1. Although some may just squee over Topher, I can't account for how everyone engages with a text. I can say that Topher's sympathetic qualities, for me, are far overweighed by his cold detachment to the Dolls and his complete lack of empathy or morality regarding them, even when being directly confronted by one and told how disgusting he is. The first time I've truly felt for him was in the last episode "Omega" when Whiskey tells him that she hates him, and he looks as though, for a brief moment, that his conscience might be waking up. One can hope.
2. This was immensely gratifying. I cannot tell you how much.
