For reasons unknown, I recently undertook a re-watch of the first eight seasons of Scrubs. The ninth season which will be airing on ABC sometime during this season of network broadcasting will retain a few original cast members but according to all reports will be a new show in the same universe as the original. Perhaps its this (supposed as yet unverified) distinct dichotomy between the first eight seasons and whatever subsequent seasons are left in the workhorse comedy that made me go back to the beginning and reevaluate the show.

I finished it a couple days ago and coincidentally the ‘Zach Braff is Dead’ rumour had just started popping up online, so I thought I’d talk about both in one post. First off, because it dovetails nicely into the discussion of the rumours and subsequent refutations by Braff, is my reevaluation of the show.

If you follow me on twitter, you’ll know I’ve been expressing my disapproval of Scrubs there for a few weeks so you might think my final decision on Scrubs is going to be decidedly negative, but in the end I still love the show. Growing up with Scrubs was a fantastic experience for me, I related to JD like no other character on television at the time; he was funny, quirky, romantic, and was a whole bunch of me wrapped up in a grown-up (but not too grown-up) shell. Still, going back to the show, the biggest problem I had with it was the seemingly nonexistent growth for JD over the first six seasons.

Every episode had at its core a lesson for JD to learn, whether it was being more accepting of people’s flaws, more attentive to your friends, less selfish, more professional, or even being willing to relax and have fun on occasion, the show always had a message. Those consistent messages were what made Scrubs something more than just a screwball medical comedy — an interesting enough subgenre as it is — those morals gave the show real gravitas, a weight against which the antics on-screen were contrasted making the ultimate message that much more stark and demanding of attention.

But there are exactly two problems at the core of Scrubs, problems the show couldn’t eliminate until the seventh and eighth seasons when the show was coming to an end. If you want the show to last, and you want the message of the week style that made the show something special, you need to essentially hit the reboot button at the end of every episode. Some plot might carry through, and JD will be ostensibly ‘improved’ for as much as a few episodes; but ultimately that lesson needs to be recycled and he’s right back in the thick of his previously conquered faults.

While the middle (and middling) seasons of Scrubs are often criticised by fans they are usually criticised for the increasingly screwball antics the show resorted to for laughs, so finding this shocking lack of character growth during my re-watch impacted me with great force at first. In retrospect, it seems like that flaw is only noticed in these sorts of high frequency viewing spurts, something someone watching as the seasons aired wouldn’t notice easily.

Still, characters relapsing into their old habits despite a struggle to grow, is not inherently a bad thing; in fact, it’s ripe for drama and a very human reaction. Just because you know what’s wrong with you doesn’t mean you’ll be able to magically fix it. Being better means vigilance, it means never forgetting where you are and who you want to be. So it’s easy for complacency to lead to backsliding. But this leads us to the show’s second core problem: it’s a comedy.

What I described above is more akin to a drama and while Scrubs incorporated dramatic elements it was fundamentally a comedy. What’s more, it was a comedy with frequent fantasy sequences, many which seemed to leak into the ‘real world’ resulting in an increasingly screwball ‘real world’ and therefore greater abuses of original character quirks. Now, being a comedy isn’t a flaw in the show per se, but it develops into a flaw when the show becomes long-running and maintains its desire to deftly interweave comedic and dramatic elements. So the relapses in behaviour were frequently either ignored, because the relapse was necessary to make a joke work, or referenced in a humourous way, belying the drama of the relapse. Both of these approaches led to funny scenes but made the characters, JD especially, seem like aloof douches who never tried to improve themselves.

Which brings me to the ‘Zach Braff is Dead’ rumours. I heard about the rumours and found debunkings of them less than a minute later so it didn’t prey on my mind for long. What I have thought about in some detail were the videos Zach Braff posted online responding to the hoax. In those videos he’s an affable guy, clearly very funny, but on the edge of all that there’s an tinge of douchery. It comes as no surprise to me that Zach Braff is a douche, I’ve been hearing reports from all around of his douchiness for years. Still, he can clearly be a friendly and overall ‘nice guy’ when he wants to as evidenced by those videos. In this respect, he reminds me of JD. They’re both, at a very low level, arrogant douches but they can put on the mask of friendliness and quirky appeal when they need to. Not really a critique, just an observation.

But, you know, even with this reevaluation, I still hold Scrubs and JD and even Zach Braff to something resembling high regard. Sure they’ve got their flaws, but who doesn’t? Scrubs is still a very funny show with a talented cast and funny writers and I certainly don’t regret the first viewing or the recent re-watch. I might not consider the show as weighty as I once did, but the laughs are still there, and the memories from the years of watching it remain.

So is Scrubs worth it? Well, I don’t know. It’s certainly funny enough to be worth watching, but I can’t promise you the stasis the characters suffer through over the years won’t bother those of you looking for some life lessons thrown into the mix. So here’s a cop out if there ever was one: is it worth it? Watch it and find out for yourself.

One of the strengths of JM Straczynski having planned the five year story of Babylon 5 was that he laid lots of interesting nuggets of foreshadowing into the earlier seasons. Plot devices used in one-off episodes in the early episodes could play a huge part in culminating events years later. It works so well because you likely won’t notice those hints the first time through, and when you return to the show for a second viewing, the relationships and significance of the events lets the foreshadowing impact you with even more force.

But with Dollhouse, every episode this season has me coming back to Epitaph One and finding ways it weakens this season. The remote wipe foreshadowing would have been more powerful if on first viewing this wipe was an innocuous plot device. It still has a power in this form, but it seems at this point a necessary event. There’s a certainty to it. We can’t not have foreshadowing. It feels mechanical now. Admittedly, it was mechanical with shows like Lost and Babylon 5 by virtue of their pre-planned stories, but that mechanism was masked.

Still, even without that masking, the foreshadowing packs a punch: Topher developing the remote wipe technology — though, to be pedantic, this remote wipe technology seems the same as the form used by Alpha last season which, as I stated in my initial review of Epitaph One, only worked on Dolls as the Dollification process was considerably more complex than your standard imprint — ultimately ends the world and breaks his mind. But I still don’t feel it as much as I think I should, because of that mechanic necessity. I get the feeling Epitaph One is going to be a thorn in my side the entire season (or whatever else airs of this season before Fox kills it for atrociously bad ratings, though it’s a good sign that this week’s episode recovered from last week’s all-time ratings low for the show).

I tend to focus on arc discussions in these reviews, but aside from that incredibly oblique unspoken reference to Topher’s future tragedy this episode was virtually entirely self-contained. The only additional ongoing idea was Echo’s ability to repeat catch phrases her clients and/or imprints always seem to have handy. Does every person in the Dollhouse universe have a unique identifiable catch phrase or something? It’s getting a little conspicuous at this point. Perhaps a future essay on the show can explore that avenue.

So that leaves us with a very interesting, but also very self-enclosed, one-off episode. The opening sequence was one of the more effectively chilling the show has managed to pull off, though the psycho-paralyser getting hit by a car seemed like an obvious end to that scene, I was hoping for something more inventive. That said, the events following that were all great. We got a chance to see Ballard use his FBI training, something he rarely used even when he was an FBI agent and reminds us that he’s more than just a weird pseudo-pervert. Echo’s B-plot professorial misconduct fantasy was interesting in a morbid sort of way, which I suppose is the way you should enjoy most Dollhouse episodes seeing as the protagonists of the show are glorified human traffickers. And the main storyline crossed with the B story nicely both on a story level and thematically.

And, once again, Enver Gjokaj cements himself as the most versatile actor in the cast, which is saying something given how talented this cast is. Every actor has had one or two outstanding moments, but Enver keeps delivering like no other. As creepy as he was as the serial doll maker — an interesting role for the antagonist in an episode that foreshadows the wireless doll making technology in the coming apocalypse — when he switched into Kiki he completely transformed. Odd name aside, that guy deserves more than anyone on this show a breakout career once Dollhouse comes to an end.

People have been worrying about Dollhouse’s fate quite a bit recently because of the terrible ratings, and some are wondering if the season shouldn’t have started with more stand-alone expository episodes, but looking at the season so far, it’s been doing stand-alone episodes, and they’ve done it better than they did during the first season’s early block of episodes but they’re not being hindered in the way other shows are by a blind adherence to strict episodic storytelling. It’s not afraid to let some moments of the episode impact the future. It should be braver in this respect, I think, with much more serialization and investment in the long running characters, but I feel like it will get there if given the time. Unfortunately, it probably won’t be given the time. I think both the network and the writers are to blame in this respect; the network, for trying to simplify an inherently complex intellectually rich story, and the writers for accepting the task of trying to oversimplify the show rather than fighting with the network.

That said, this season has been very good so far but what little long-term stories they’ve built in these first three episodes has been insufficient to me. They tried the best of both worlds last year and got dwindling ratings as a result. At this point, the show should be taking advantage of the second season pickup and just going wild with all the crazy five-year-plan things Joss Whedon has imagined. When the show got a second season pickup, I didn’t really expect a third. The more I look at it, the more it seems like Fox simply didn’t kill off Dollhouse after the first season so they wouldn’t burn bridges with Joss Whedon or his fanatic followers. So with the likelihood of a third season increasingly dire, the show shoud just go for broke. Let’s hope it tries that in the coming weeks.

Last week I closed off my post hoping that the stories that happen outside of the Dollhouse would improve, and this week they did though at the expense of an in-house story. But despite being a mostly self-enclosed story, it managed to integrate a new development in the arsenal of the Dollhouse and latch on an unrelated subplot that pushed the seasons arc ever so slightly forward.

What little there was from the Dollhouse perspective focused on November, now reverted to Madeline. On the surface, she seemed to be a ringing endorsement for the Dollhouse. Disappear into a void for five years and come out better. But is she better? She has a distanced aloofness when she discusses her daughter, a calmness that strikes me not as recovery but something more sinister. Did she go into the Dollhouse with a mental trauma so great, she accepted the terms with the understanding that she would be returned to her body without those pangs? Is she even the same person? And is that what she wanted?

I kind of dropped the ball this week and slacked on Dollhouse, so that’s all I’ve really put into words regarding my thoughts on the second episode of the season. It was good, and episodic half of the episode — as opposed to the serialized half — was mostly interesting which is a rare event for this show. This week’s episode will probably be even better, and if I’m not totally fucking lazy, I might actually put some real effort into my thoughts on it. And maybe even publish them earlier than an hour before the next episode is scheduled to air.

What follows is me discussing things my mind lingers over as I watched the season premiere of Dollhouse. Plot will be discussed but not described, arcs will be examined but not articulated. This ain’t my old-style Dollhouse review, and I’ll likely continue to experiment with form and focus as the season continues. I got tired of the relentless crutch of the recap template so the style will drift dramatically from week to week I’d imagine.

Being human is not an easy thing. It seems easy because we’re born ready. But to teach something to be a human, to construct a mind that offers even a simulacrum of the complexity of the human experience, for a true “blank slate” to grow to be a person is riddled with trials we can’t imagine.

The Dollhouse doesn’t create from a blank slate, they cobble together minds from a vast and growing collection, and still they suffer the consequences of ignoring the risks involved in such a construction. Creating an inviolate mind from an aggregation of violations tends to result in some failures.

Dr Saunders is a creation of ‘sociopath in a sweater vest’ but she stumbles to a sense of identity, after suffering through a noted numbness during the first season. She sees her flaws — some with which she was imbued, others she generated as a consequence of being alive — as a curse inflicted on her by her ‘creator,’ she fails to understand that in many ways we are all broken, that we are little more than a collection of flaws.

All the Dolls we care about are broken in important ways. In some ways it’s a commentary on the conceit of drama itself. We rarely watch stories with truly normal people living their lives. Conflict, drama, and extraordinary events are all essential to compelling storytelling, so we end up seeing troubled people more often than not. But that conceit comes from the essential truth that we each react to the world in a wholly unique manner. The integration of external stimuli and internal processes is what people see when they look at you, so exposing people to the unexpected, bringing out their internal strengths and weaknesses, is a method of examination.

So Dollhouse continues to watch the Dolls fall (or get picked) apart, breaking down their identities only to have them self-coalesce. The mind, whether innate or implanted, is more robust than we know. But at the same time, the veneer of the Dollhouse staff also cracks, though with more subtlety. Victor’s scars are a painful reminder of the damages the Dollhouse can inflict, one that DeWitt can’t stand to see on someone she’s come to love.

We’re seeing the continuation of themes about what it is to be a person. And the show seems to be settling in on the idea that the Dolls can be people too — Saunders is the best current example of this, though the other Dolls are all exhibiting symptoms of personality. And the idea that Dolls can be people is to me very comforting but also striking and perhaps terrifying.

The ideas brought up in the unaired episode Epitaph One of mindless slaves to violence are more akin to tech-savvy zombies than to questions of identity, and so less interesting to me. That we could be supplanted by entirely different people is much grander in scope; it’s a subtler debasement, in fact it can even be argued that it is not a debasement because the replacement is equal to you. The personalities Dolls get imprinted with may be constructed but that doesn’t imply they are somehow lesser than natural minds. And that’s a terrifying non-implication.

This premiere did such an excellent job of giving me everything I want from a show, along with a few things I didn’t know I wanted, all without leaving the Dollhouse. The real world events were nice, but mostly unneeded. I like the direction the show is taking — I sort of hope they quietly ignore Epitaph One for a good long while — though I still hold out hope that the real world stories will improve at the same rate the in-house ones are.

This was supposed to be a brief write-up, because I’m still reading Infinite Jest and because it’s three in the morning on a work night, but I just kept writing so now it’s basically a full-length review. However, the cliff notes is: I really liked the second episode of Glee, despite the slight sophomore slump. The only complaint that I have for this episode was that there wasn’t a sense of development from the pilot, the relationships seemed to be mimicking the pilot not building off it. That’s obviously not strictly true, because the plot has moved along, and it’s not like there were drastic character shifts that happened in the pilot (seeing as we first met the characters in the pilot) so all I’m saying is the characters are consistent, but in an ineffably troubling sort of way. And it’s not that that’s a weakness of the show, as much as it’s a necessity due to the four month gap between the pilot and the second episode.

That niggle aside, I loved the second episode. The songs were mostly great — with Gold Digger being the obvious stand-out, though ‘Push It’ was hilarious and ‘Take a Bow’ was arguably the most accomplished musically of the songs this week — and the two songs I disliked I think the show wanted the audience to dislike. I mean, everyone knew the repeat of ‘Le Freak’ was a massive blunder on Mr Shue’s part, so it was supposed to suck. And the version of ‘I Say a Little Prayer’ I didn’t like, mostly because the actors lip-synced rather than mime-sang the song so their mouths seemed empty during the bombastic singing and that discontinuity was annoying for me.  Plus the singer of that song was the ‘bad guy’ of the show, so I’m not supposed to like it right? Finnchel¹ FTW!

Speaking of the eponymous plotline, the Finn/Rachel ‘showmance’ was really great this episode. Rather than make it one of those inexplicably unrequited relationships that dramedies whip out faster than Paul Reubens in a movie theatre — two people who are both attractive and have numerous things in common for some reason never see each other² In That Way for reasons unknown³ never made much sense to me — they consummated their relationship very quickly. It’s not permanent, but the relationship has been established as existing and reciprocal, which is the sensible thing. It doesn’t necessarily mean they’ll jump in the sack, though Rachel certainly seems hot to trot based on her safe sex declamations at the celibacy club and Finn’s dead postman vision is equally evocative, as relationships don’t always work out just because both people are interested.

Which brings me to the other theme of the episode, the one that played out through the Shue/Emma relationship. They’re both clearly interested in each other, and if there wasn’t a baby in between them, Shue would probably leave his wife for her. But there is a baby between them. Well the idea of a baby anyways. Some have criticised the show for too easily villainising Shue’s wife’s with her deceit regarding her hysterical pregnancy⁴ but I think it was a great way to a) establish more audience unease with Shue’s current relationship after the initial pregnancy announcement likely made the audience feel bad about cheering on the Shue/Emma relationship and b) bring some depth to her character. In the pilot Shue’s wife is shown as mostly a shrew, but this episode softened her and showed that she really does love her husband even if she’s a little fucked up and has trouble expressing it. It was a smart move on the show’s part.

My only remaining complaint, and this is a general critique of the show and it’s not even really one of those either, is that Jane Lynch is playing too much to her type. In recent years she’s become the go to gal for the type of character she’s playing on Glee. With good cause — she does an amazing job with it — but we’ve seen it before. That said, the character was written and then she was cast for it not the other way around, and if you want anyone in that role, it’s Jane Lynch. Really, I just wish she could still be on Party Down. But it’s not meant to be, so now I’ll have to enjoy her here⁵.

Lots of blogs that review TV shows like to list favourite quotations⁶ at the end of their reviews, so I figure I’ll list a few here in an attempt to pander.

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• Mr Shue, being very very wrong: ‘Everybody loves disco!’
• Celibacy Club summing up their philosophy: ‘It’s all about the teasing, not about the pleasing!’
• On the lack of a gag reflex: ‘One day when you’re older, that’ll turn out to be a gift’
• On ‘erupting’ early: ‘Actually, it’s a big problem for me.’

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Footnotes

1. My dislike for these sorts of name portmanteaus (Finn + Rachel in this instance) is well known, but we all need to let loose and/or ironically employ annoying memes every once in a while [↩]
2. Though they’ll often vacillate in a bout of hilariously bad timing for a few seasons on who secretly pines for who. [↩]
3. In fact, the ongoing insults to Rachel’s appearance are slightly baffling to me. I think she’s pretty, but she’s constantly insulted for her uncomely appearance. I guess it’s just an attempt to demonize the cheerleaders et. al. but it’s a weird way to do it I think. [↩]
4. though with the etymology of the word hysterical, arguably all pregnancies are hysterical [↩]
5. And hope that Megan Mullally doesn’t ruin Party Down for me [↩]
6. You quote something and the thing you quote is a quotation, though this is a pedantic nuance I normally don’t give a shit about, to be honest. [↩]