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Quinn Again

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September 5th, 2011

GLEE
 
--- The Hollow Men
 
Story Guide and Information Sheet
 
Title: The Hollow Men – A Story in Three Parts
Author: The Drowned World (Phoenix | Goddess (pfenix_goddess))
Universe: Glee
Rating: T (or PG-13) for some language, violence, dark themes, slight sexuality, horror
Genre: Supernatural, romance, horror
Plot Summary: As the bullying at WMHS goes too far, Kurt’s entire world is thrown into question when he begins to hallucinate a spiritual stalker. But is it a hallucination, or is Kurt caught up in something beyond this world – and how is Blaine connected? Will Kurt be strong enough to face what’s coming?
The Story, Archived at FanFiction.net: http://www.fanfiction.net/s/7356763/1/The_Hollow_Men_A_Story_in_Three_Parts
Major Characters: Kurt Hummel, Blaine Anderson, Quinn Fabray, Leomaris (OC)
Minor Characters: Burt Hummel, William Schuester, Sue Sylvester, Dr. Shane, Karofsky and Azimio and the Jocks, Finn Hudson, Mercedes Jones and the WMHS New Directions (Rachel Berry, Tina Cohen-Chang, etc.), the Dalton Academy Warblers (Wes, David, Luke, etc.)
Warnings: Dubious/non-consent (but not too extreme); use of homophobic and racial slurs/bullying (verbal/physical/psychological); suicidal thoughts; supernatural; horror; character death
Timeline: AU retelling of “Never Been Kissed”; spoilers through parts of “The Substitute”, “Furt”, “Special Education”, “A Very Glee Christmas”
Beta: Jessica (Pandora’s5thBox), who put her foot down on my rampant comma use, demanded words when I didn’t deliver, acted as my cheerleader, caught my mistakes, and was generally awesome.
Artist: aoleander, who provided vital feedback before I sent out my story alongside giving me some absolutely gorgeous artwork for my story, which was a completely new experience for me, and to who I owe many thanks.
Master Art Post: http://aoleander.livejournal.com/1858.html
The Hollow Men Artwork I: (Cover Art) http://i1017.photobucket.com/albums/af297/aoleander/klainebigbang-thehollowmen1.jpg
The Hollow Men Artwork II: (From Part III, spoiler alert)
http://i1017.photobucket.com/albums/af297/aoleander/klainebigbang-thehollowmen2.jpg
Final Word Count: Part I = 20,140; Part II = 25,929; Part III = 27,176
Completion Date: 14 August 2011 — Complete Word Count: 73,245 
The Klaine Big-Bang Challenge – 15,000 Words in Six Months
 
This story is my entry into the LiveJournal contest “The Klaine Big Bang Challenge”, which pretty much demands at least 15,000 words done by 15 August 2011. This is the first time I’ve ever entered into a fiction contest with things like rules and deadlines and suchlike, so I’ve actually had quite a bit of fun with this. This is a plot idea I’ve had ever since watching “Never Been Kissed”, actually, so this coupled with some things going on in my life right now were just the perfect excuses to go ahead and do it.
 
WARNINGS: (There will be a few of these, so I’ll bold them.)
 
Darkness Ahead: While there is definite conflict resolution for this story, it’s going to be a dark and painful road to get there. There are issues of dubious consent, physical/verbal/emotional abuse, and everything in-between. I’m drawing on my own personal experiences of bullying for this story, so I’m throwing this out there right now: there are possible triggers littered throughout this story. Also, while there isn’t any faerie-tale “Harry Potter” magic featured in this story, it is supernatural, it does contain elements of witchcraft and some elements of ‘folk magic’ folklore, both haunting and possession. Also, there is character death in this story; if I say more now I’ll spoil the ending.
 
Spoiler Alert: I’m only going to say this once – you need to have watched the first half of season two. This story will go wildly into AU-territory in the vague space between “Never Been Kissed” and “Furt” (with “The Substitute” being largely ignored for sake of time, space, and the fact that Holly Holiday is too happy to appear in this), but there are spoilers up through “A Very Glee Christmas”, so watch out.
 
Episode Re-write: This story begins directly in “Never Been Kissed”, and although it goes very AU and is definitely my own story, there are parts of that episode and a very small amount of that episode’s dialogue featured; “Never Been Kissed” is obviously highly copyrighted by FOX and by RIB, and the episode itself was written by Brad Falchuk.
 
Feedback and Reviews: As you will no doubt notice, this is being hosted on FanFiction.net. My account allows for anonymous reviews, so if you do not wish to leave a review on LJ, you can leave any and all feedback at FF.net; I thrive off of feedback good or bad, and I would really love to hear what you think.
 
The Music: I cannot write without music, and there are some songs that are performed within this story, are featured in the introductions, and that I just can’t imagine the scenes being played without. That being said, I’ve compiled a soundtrack album for each part of The Hollow Men. The tracks are as follows:
            Part I — Les Fleurs du Mal:
  1. Gothica – Sarah Brightman
  2. Fleurs du Mal – Sarah Brightman
  3. Simple and Clean [PLANITb Remix] {Short Edit} – Utada Hikaru
  4. Gone – Madonna
  5. I Feel Pretty / Unpretty – Glee Cast
  6. Be Careful (Cuidado con mi Corazón) – Madonna and Ricky Martin
  7. Hearing Damage – Thom Yorke
  8. Dear God – Sarah McLachlan
  9. Back to Black – Amy Winehouse
  10. St John – We Are the Fallen
  11. The Harold Song – Ke$ha
  12. 4 Minutes – Glee Cast
  13. Marry the Night – Lady Gaga
  14. Wonderland – Natalia Kills
  15. Teenage Dream – Glee Cast
  16. Boulevard of Broken Dreams – Original Broadway Cast of “American Idiot”
  17. Skin – Madonna
  18. Inside Out – Emmy Rossum
  19. Farther Away – Evanescence
  20. The Car Chase (from “A Beautiful Mind”) – James Horner
  21. Smells Like Teen Spirit – Tori Amos
  22. Cut – Plumb
 
Part II – Wandering Child
  1. New Moon (from “New Moon”) – Alexandre Desplat
  2. Wandering Child – Emmy Rossum and Gerard Butler
  3. Twisted Every Way – Emmy Rossum and Film Cast of “Phantom of the Opera”
  4. Drowned World / Substitute for Love – Madonna
  5. Swim – Madonna
  6. Possession – Sarah McLachlan
  7. Breakin’ at the Cracks – Colbie Caillat
  8. Bad Girl – Madonna
  9. What You Want – Evanescence
  10. Meet Me on the Equinox – Death Cab for Cutie
  11. The World Is Not Enough – Garbage
  12. Die for You – Megan McCauley
  13. Animal [Billboard Remix] – Ke$ha
  14. Dance in the Dark – Lady Gaga
  15. All Around Me – Flyleaf
  16. The Wolf (from “Red Riding Hood”) – Fever Ray
  17. Monster – Lady Gaga
  18. Her Name Is Alice – Shinedown
  19. Your Own Disaster – Taking Back Sunday
  20. Breathe No More – Evanescence
  21. Green Finch and Linnet Bird – Original Film Cast of “Sweeney Todd”
  22. Paradise (Not for Me) – Madonna
 
Part III — Mer Girl
  1. Mer Girl – Madonna
  2. Heavy in Your Arms – Florence + The Machine
  3. O Children – Nick Cave + The Bad Seeds
  4. Baby, It’s Cold Outside – Glee Cast
  5. See Through – Megan McCauley
  6. Don’t Cry for Me Argentina (Kurt’s Solo) – Glee Cast
  7. The Dog Days Are Over – Glee Cast
  8. One Day I’ll Fly Away – Nicole Kidman
  9. Merman – Tori Amos
  10. Frozen – Madonna
  11. Taste – Lorna Vallings
  12. Miles Away – Madonna
  13. Reverie – Megan McCauley
  14. Bound to You – Christina Aguilera
  15. No, I Don’t Remember – Anna Ternheim
  16. Journey to the Cemetery / Little Lotte – Emmy Rossum
  17. Wishing You Were Somehow Here Again – Emmy Rossum
  18. Lux Aeterna – Clint Mansell
  19. Perfection – Clint Mansell
  20. Simple and Clean – Utada Hikaru
  21. She Floats – Vanessa Carlton
  22. Remains – Maurissa Tancharoen and Jed Whedon
    Defying Gravity (Kurt’s Solo) – Glee Cast



May 14th, 2010

Oneshot: "Suicide Note"

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Quinn Again

WARNING: THIS FIC IS DARK AND STRAIGHT-UP FUCKED!

Well, with that healthy warning out of the way, here's my latest. I really don't know where the hell this came from, but I'm hoping that it unleashed some of the angst that has been building up for a while -- has 2010 been really hard on anyone else?

Suicide Note

An EXTREMELY dark look at Angel's decision to leave Sunnydale in the third season: "Angel always hurts the one with dark, wounded eyes the most." As Angel contemplates three victims to his allure -- Faith, Drusilla and Xander -- he finds himself in a sticky situation as he has to confront his decision to leave Buffy. Oneshot.

Warnings for angst, non-con, bloodplay, some D/s, very slight daddy!kink. Features Angel/Faith, Angel/Xander, Angel/Buffy, Angelus/Darla, Angelus/Drusilla, Angelus/Spike.


Feedback is, as always, greatly appreciated. Link:

http://www.fanfiction.net/s/5966520/1/Suicide_Note

March 30th, 2010


Alright, it's been a few weeks, but in terms of the Passion of Angels and Demons, that's really not the longest stretch. As it says in the author's note opening up this chapter, I've got the last eight chapters and the epilogue plotted out; while it still takes me awhile to cobble it all together, I'm fairly certain that it isn't going to take long for it all to come together -- or at least not as long. Still, I'll let the author's note speak and settle for just posting the chapter update.

But just one more thing: WHO ELSE'S JAW WAS ON THE FLOOR WHEN THEY REVEALED WHO TWILIGHT IS IN THE BUFFY SEASON 8 COMICS?!

In any case, let's go on to the chapter update:

the Passion of Angels and Demons

Chapter XXV

The Madness of the Vampire King, Part I: Master of the Hellmouth

In which Angelus takes control of Sunnydale, and Buffy forges an unexpected alliance. Sparks begin to fly between Xander and Mitch, while Willow makes some sparks of her own, not all of them good. Spike begins to have second thoughts, and Drusilla's dreams could spell disaster for everyone...

http://www.fanfiction.net/s/3288863/28/the_Passion_of_Angels_and_Demons

March 15th, 2010


This post will list and label updates for my ongoing fiction, why certain updates are taking so long, and what's coming up next. It should be a fairly long post, but then again it may not be. So, without any further ado, let's take this by universe, and then I'll tie this post off with an update on my original fiction efforts.

Buffy the Vampire Slayer & Angel

This is, obviously, the largest body of my works. Speaking cannonically, in case you haven't read the newest update I won't spoil it for you, but I will ask: was I the only one with my jaw on the floor when they revealed Twilight's identity in the latest Season Eight comic? I think after Whedon started doing Dollhouse he learned the value of a conspiracy reveal twist, because now I really want to read the next issue. If only to see how it all makes sense.

In any case, fiction!

Crystal: A Sequel to "Winter Song"

Here's quite possibly one of my most popular. The issue is that Crystal is also one of my most personal. Last month, on top of a wretchedly bad year, I got a computer virus that wiped out half of my fiction notes, forcing me to start (almost) from scratch again. In my current frame of mind, I'm tempted to kill all of the characters and turn Angel evil, which naturally wouldn't mesh with my original mission statement in writing this. I hope that you all don't mind waiting, but I want to write this story when I'm in the correct mood, so it's currently on hiatus.

the Passion of Angels and Demons

This story is very close to being completed. Of course, each chapter is really long. I recently updated it with Chapter XXIV, and I'm working on Chapter XXV right now. The biggest news on this front is that I am going to be adapting this story into original fiction, so in the next few years it will eventually disappear from the internet, but there will be plenty of warning till then. As it stands now, I'm extremely positive about the direction this story is heading.

Dollhouse

The next biggest section, now.

Lonely Souls

The next chapter of this story is close to being completed and I have every chapter planned out, so it'll probably be done soon.

The Sea

I just posted this. I'm not sure when it's going to be completed, but the next chapter will be posted by the end of the week.

Charmed

Phoenix Song

This is another story where I lost most of the information on it, so I'm rebuilding. Expect updates when I get into more a Charmed sort of mood.

Original Fiction

I've finally finished plotting out my five vampire novels, two of which will be adaptations of Passion. It's a pretty exciting thing for me, and I'm hard at work at the first novel. I think that it's a positive thing, and I'm going to be trying to get these published and sold in book stores. More updates on this story when I have time.

Okay, so that was maybe not that long, but I needed to do it.

March 7th, 2010


 

Dollhouse—Entertaining the End 

Now that all is said and done, and the dust has begun to settle, it's time for a bit of introspection. At about this time last year I first heard that Joss Whedon, creative mastermind behind two of the greatest television shows to ever exist, Buffy the Vampire Slayer and Angel, was coming back to television. Not only this, but he was having Eliza Dushku as his lead star, an actress I'd loved for years as I watched her portray Faith from Buffy and then the lead role on Tru Calling. Excitedly, I tuned in for the pilot episode on February 13th, 2009.

I'll thank the Fox Network for being completely unprepared for the reality of Dollhouse. With virtually no promotion of the show and no knowledge of the internet chatter surrounding the show's troubled beginnings, the only thing I'd seen of Dollhouse was two truly cringe-inducing TV promos featuring Eliza Dushku and Summer Glau (of Terminator: The Sarah Connor Chronicles) trying to make Fox's Friday-night lineup sound like nothing more than hot women stripping down in the name of science fiction. Needless to say, I was less than prepared for a show with substance.

What is Dollhouse? Dollhouse is a show about a beautiful young woman first introduced only as “Echo,” an Active housed within the secretive Los Angeles Dollhouse. An Active, or doll, has had their memories and personalities erased, leaving them childlike blank slates wandering around a sleek, gorgeous spa-like environment. When a client hires an Active for an engagement, the Active is imprinted with a complete personality and skill set to suit the client's needs: dream date, thief, assassin...After the engagement is complete, the Active returns to the Dollhouse where their minds are again wiped clean, protecting the client's secrets and leaving them, for all intents and purposes, vegetables once more. Things take a unique turn, however, when Echo begins to show signs of self-awareness between engagements, and she slowly begins to build a personality for herself, in effect, being reborn as an individual.

A fascinating concept, but a dark and disturbing one, as well. Dollhouse was practically designed to make viewers uncomfortable over the questions that it raised. All of the Actives are ostensibly volunteers—but can one ever volunteer to be a slave? If the technology exists to literally wipe someone's personality from them, what is the truth? If an Active is programmed to love the client that they are with on a romantic engagement, is it still rape and/or prostitution? Is it even morally right for such technology to exist? These questions and more swirl around the Dollhouse...or at least, they tried.

According to several interviews and, indeed, the news swirling around Dollhouse since its inception, Fox quickly backed away from how dark Dollhouse could become, and instead insisted on a new, formulaic approach to the story. In the original pilot episode, “Echo,” we are introduced to a dark and fascinating world where nothing is what it appears to be. Echo is born as an individual, and a storm begins to descend on the Dollhouse itself, a house which is a disturbing mirror of Hollywood today. Fox scrapped this pilot and insisted on a “five-pilot” approach, wherein Echo would be sent on an “engagement of the week” with little room for plot development. They then scheduled Dollhouse for the dreaded Fox Network “Friday Night Death Slot” at 9:00, and then failed to promote the show whatsoever.

In the first five episodes, Echo was not a person, and neither was anyone at the Dollhouse. Aside from brief moments of self-actualization achieved by Echo at the end of each episode, there was little to no plot development occurring at all during any of these “pilots,” each one designed so that a viewer could jump right into the show and not have missed anything important the week before. Therefore, the audience was presented with a concept that was disturbing, a main character they cared nothing about, an unlikeable cast of supporting characters, and five self-contained episodes that did nothing for overall plot development. By the end of the fifth week, the ratings had plunged, and by the time the sixth episode returned the show to the heights reached by “Echo,” the total viewership for Dollhouse was nearly completely lost, and it was never regained.

The critics, however, were another story.

The first five episodes were criticized for their lack of plot development, for their bland and uninteresting engagements – after all, it wasn't really Echo in danger, it was someone else who looked like her: what was there to care about? – and their concerns that Eliza Dushku didn't possess the acting abilities to become a new, different individual in each episode. Many wondered if Whedon hadn't “lost his touch.” The much-hyped sixth episode, “Man on the Street,” was said by both cast, crew and Whedon himself to be a game-changer. Critics and what viewing audience was left gamely tuned in to a fateful Friday that changed everything.

With a bang, Dollhouse became everything that it was meant to be: a dark and morally challenging show centered around a talented cast fighting their own battles with each other and themselves as Echo wakes up within herself and begins to fight back. Abandoning the lukewarm “engagement of the week” format, Dollhouse became serialized and intense, with each new installment hailed by critics as both a return to form and high drama television. The supporting cast was finally given a chance to shine and Dushku was praised as having a much more dramatic presence now that Echo was given a chance to be more than just a blankly staring face week in and week out.

Hurtling through the mysteries of the Rossum Corporation – the force behind the Dollhouse (named as a literary allusion to the Eastern drama “Rossum's Universal Robots”) – and the insane rogue Active known as Alpha, Dollhouse became as much a conspiracy thriller as a science-fiction, focusing on FBI agent Paul Ballard (portrayed by Tahmoh Penikett)'s obsessive interest in taking down the Dollhouse as well as the transient value of truth as characters were revealed in their darkest hours to be everything that they never thought they were. By the end of the first season, Time magazine had labeled Dollhouse a “haunting, cerebral and gorgeous” television show.

Paul Ballard was a fascinating character because he was first introduced as the hero of the tale, the dogged FBI agent who crusaded to free Echo and the other dolls from their gilded prison. In a classic Whedon twist, however, one of the Dollhouse's own clients (portrayed in a memorable guest spot by Patton Oswalt) forced us to see Paul Ballard for what he really is: a human being, perhaps even more flawed than we are. As his world is turned upside down and he's forced to see what he really is, Tahmoh Penikett (“Helo” from Battlestar Galactica) turns a masterful role as a human being tossed into an impossible situation as he falls dangerously in love with the idea of freeing Caroline, the woman Echo was before she was brought to the Dollhouse.

The season wrapped with a finale that was as thoughtful as it was a tense thrill ride, bringing the season full circle as a final trauma forced Echo to wake up as an individual within the strange prison that was the Dollhouse. It was here that Fox struck again. Aware that the ratings were tanking, Whedon and his team of writers had shot an episode on a shoestring budget to prove that they needed less money. This episode, titled “Epitaph One,” was set ten years in the future, and featured a fascinating post-apocalyptic world that had been devastated by the technology of the Dollhouse, which had been weaponized and wiped half of the world into blank dolls and turned the other half into mindless killing machines. Hailed by critics as one of the best hours of science-fiction television of 2009, Fox chose to not air the episode as “Echo” technically fulfilled their 13-episode order. 

It was here, however, in the show's seeming darkest hour, that something unexpected and amazing happened. In the digital age, a new invention was released years ago that has become an advertiser's bane: DVR. While Dollhouse had low overnight ratings, Fox chose to look at the DVR numbers. Combined with the overnights, the next-day viewings (DVR, Hulu.com, Amazon.com, and iTunes) of Dollhouse literally more than doubled the ratings. After releasing the first season on DVD, complete with both “Echo” and “Epitaph One,” Fox watched with something like amazement as the first season DVD set sold more than 60,000 copies on the first week alone. In one week, Fox had made more than $1,000,000 – nearly enough to begin regaining their investment in Dollhouse. In a surprise move, Fox chose to renew Dollhouse for a second season. 

Here, Dollhouse changed, and it changed forever.

Although the first three episodes featured individual engagements, these opening sequences were nothing like the timid, lukewarm stories told in season one. Echo was awake and aware of the dangers around her, and there were consequences for that awareness. After an explosive premiere, Echo found a friend and an ally in Paul Ballard as he joined the Dollhouse to help her, and they both vowed to restore the dolls to their selves and free themselves from their technological prison. 

Premiering once more on the Friday night death slot, with a continued lack of advertisement, Whedon changed the entire game for the second season. Each episode propelled the plot further as he telescoped five years of television he'd planned for Dollhouse into the second season. Heavy on celebrated science fiction and “Whedonverse” alumni, the second season of Dollhouse saw Echo confronting the Rossum Corporation. 

When Fox chose to pull Dollhouse completely from the November sweeps schedule, it came as no surprise to anyone when Dollhouse was canceled. Again, however, Fox surprised the intensely loyal cult following the show had developed: the network gave Whedon and his crew months of advance notice, the opportunity to actually finish the show, and their promise that they would air all thirteen episodes of season two, no matter what. 

With an eye toward providing closure for the series, Dollhouse bloomed by necessity into everything it could and would be. Beginning with the haunting and tragic episode “Belonging,” Dollhouse began to ask even more questions – for instance, what would happen to Echo if she were restored to Caroline? As Caroline was revealed to not quite be the angel people believed her to be, a new question was introduced: would it be murder to get rid of Echo in favor of Caroline? How much of Caroline is Echo? These questions and more heightened the emotional tension in a roller-coaster ride of humanistic probing. The second season also gave room for the three newest discoveries in a powerful stable of actors – Enver Gjokaj (“Victor”), who gave an eerie performance as a perfect copy of Topher Brink; Dichen Lachman (“Sierra”), who brought sympathy to television's most tragic heroine; and Fran Kranz, who began as the amoral sociopath Topher Brink, the scientist with a god complex of the first season brought to a stunning mental breakdown as the guilt of his actions finally caught him. 

With the characters of season two moving into a fascinating build-up toward tragedy, Dollhouse moved into the realm of conspiracy thriller with action-packed episodes full of stunning revelations and unexpected secrets, revealing the Rossum Corporation as a powerful entity with an eye toward grooming the next President of the United States. In a risky move, Dollhouse unleashed Echo into the world with no memory and forced her to live on her own, training to take down the Dollhouse. 

The work payed off beautifully as Echo was entrapped once more within the Dollhouse, only this time sent to that vague threat of season one: The Attic. In a beautifully rendered episode directed by a comic book artist, Dollhouse entered a surreal world of dreamlike quality, a move that led to even more revelations, some more shocking than others. Featuring fan-favorite guest stars like Summer Glau (of Firefly and Terminator: The Sarah Connor Chronicles), Alexis Denisof (Buffy the Vampire Slayer and Angel), Jamie Bamber (Battlestar Galactica), and introducing Miracle Laurie as the tragic doll November, the second season of Dollhouse led to a taut, emotionally supercharged finale as tearful as it was explosive, ending the second season. 

Here, however, lay Whedon's true gift to the devoted fans of Dollhouse. No longer concerned with ratings, Whedon and his team were free to tell the story directly to the fans of the show, and moved the show in a stupendous direction toward that oft-celebrated, post-apocalyptic dystopian world first glimpsed in the DVD-only “Epitaph One.” After “The Hollow Men,” the finale of the second season, Dollhouse again moved a decade into the future, picking up where “Epitaph One” left off to deliver another celebrated episode and a closure-bringing series finale in “Epitaph Two: Return.”

In thirteen episodes, it was impossible to wrap up every storyline, but Dollhouse tried its hardest and succeeded in nearly all cases. And in that, there was a success: Dollhouse had an end, a truly satisfying end, that brought the characters full circle and presented a new world for them to live in, a world that fans could explore on their own. 

In the end, what could one take away from Dollhouse? Over the course of its two seasons, Dollhouse was a show that raised questions – morally, philosophically, ethically. In watching Echo carve out a self within her blank state, she became a hero to all of us as she became an individual, rather than a supernaturally empowered action-hero. Topher Brink (portrayed by Fran Kranz) started as the amoral and gleeful sociopath behind the Dollhouse's technology, and by show's end had grown a conscience and something like a soul – he started as us when given the technology to play with people like a god playing with ants. At the very least, Dollhouse was stimulating. It made us uneasy, it made us think, it made us question, and it made us care. In the world of today's endless stream of reality shows and sex-themed sitcoms, that was enough to stand out in the world of television.

So, really, perhaps it was good that Dollhouse only lasted for two seasons: it stayed fresh and it went out on a truly high note in one of the stranger TV swan songs seen for quite some time. And while Joss Whedon has said that he has no plans to continue Dollhouse in another format like he has done with Buffy the Vampire Slayer and Angel and Firefly, perhaps he can again give the advice he gave to Buffy and Angel fans after their respective ends: “Write lots and lots of fanfiction.”

Viewer's Note:

While I certainly have sang enough praises of Dollhouse over the course of this interview, I would hope that I was suitably scathing enough of the "five-pilot" introduction; while some of the badness can and should be blamed on the Fox network for insisting on these episodes in the first place, one simply cannot excuse bad writing, on one episode in particular. Hailsed by science-fiction critic/fan website io9 as literally one of "the worst sci-fi moments of 2009," the episode "Stage Fright" (season one, episode three) was simply awful from start to finish, except for the scenes that were cannibalized from "Echo," the unaired pilot. It's my personal preference to watch "Echo" rather than "Stage Fright" at this juncture when viewing the DVD, as "Echo" makes sense in that slot and is such a vastly superior episode.

Also, while watching "Epitaph One" before viewing season two gives the second season an added gravity, the show itself makes far more sense if one watches each set of twelve episodes as a complete season and then watches the two "Epitaph" episodes as a sort of TV movie that finishes off the series.

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