Dollhouse

Episode Report Card
Couch Baron: B+ | 2 USERS: D+
YOU GRADE IT
The Omega Story

Alpha can't believe that "Omega" hit him with a pipe, and Echo replies, "Call me Omega again and you'll get some more." She's certainly got me in her corner on that point. Alpha speculates that something went wrong with the composite, but Echo smashes some key computer equipment and tells him nothing went wrong -- every imprint she ever had is alive and in her head right now. In that case, there must have been a Faith imprint in there we didn't know about. Anyway, Echo is not too pleased with Alpha for trying to have her kill herself, and disbelievingly notes that he thinks they're gods. Alan Tudyk does an amusing bit about multiple personalities that's unfortunately too cumbersome to transcribe, but then agrees that maybe they're not gods. "Ubermensch. Nietzsche predicted our rise. Perfected. Objective. Something new." Finally, it gets interesting, as this explains what he's been up to -- the destruction of his former self, the need to dismiss mankind as weak and unworthy, even the need of the ubermensch to create art -- it all fits. That is, if I'm recalling correctly -- it's been twenty years since I took a philosophy class and I'm currently on enough allergy medication to kill a horse, so forgive me if I'm actually making all this up. If I'm right, though, it also makes sense that Echo would reject his philosophy, given her empathy with man and beast alike. Of course, the discussion would probably reach a higher plane had Echo not chosen this moment to Faith it up in the extreme, but the point is that she thinks being everybody makes them nobody -- she's experiencing all thirty-eight personalities at once, but she can feel that not one of them is her -- she was hollowed out to make room for them. Alpha, sensing he and Echo have suddenly grown incompatible, takes note of another pipe lying rather near him, and then Caroline has to open her fat mouth and say Echo is her. Echo points out that just because Alpha's crazy doesn't mean he's wrong -- she abandoned her, and why did she do that? Caroline unconvincingly says it's complicated, but before Echo can really light into her for that one, Alpha swings at her, and although she blocks it with her own weapon, she gets knocked into a wall, and then they fight...

...but now that they're not talking, we have to cut away. Ballard and Boyd have arrived at the victim's apartment building, and Ballard says he can see Boyd must have been a cop, so how'd he end up working for these people? Boyd smoothly deflects the question by noting he could ask Ballard the same thing, and Ballard takes the bait, saying he's not working for them, just trying to save the girl. Boyd cryptically replies that there's always a girl, and that's about as much as we know so far, isn't it? Anyway, they ring "Anita Walsh," and Boyd lets Ballard take the lead in talking to her. She says she'll come down, as she's leaving for work, and then Boyd points out that they could be forcing her to relive a nightmare for no reason, as whoever Karl Kraft was may not have anything to do with Alpha. However, just then, Anita steps off the elevator, and her facial scars tell a different story. If I'm Ballard, here's where I give Boyd the loser bassoon music from The Price Is Right, but I already told you he's no fun. Also, it's kind of a bummer that the facial scarring is a holdover from Alpha's original personality -- I think it's much less interesting that way, but there's a lot of that going around this episode. Not that Alpha couldn't be using that predisposition in the exact way I theorized -- I think he actually is -- but still.

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Dollhouse

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