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“Young woman with special abilities fights evil.” “Vampire fights crime.” “Cowboys and cowgirls (and a priest and some other people) in space.”

Joss Whedon’s previous shows may not have been “CSI: Des Moines” and they certainly never pulled in “CSI”-style ratings, but they weren’t all that hard to explain in a 15-second promo clip.

Of course, in execution, the shows were so much more than a one-sentence pitch. The heartfelt and probing explorations of love, loyalty, betrayal, friendship and morality seen in “Angel,” “Buffy the Vampire Slayer” and “Firefly” meant that fans of those shows tend to be of the rabid variety.

“Dollhouse,” which airs two deliciously twisted and well-acted episodes Friday and additional doubleheaders Dec. 11 and Dec. 18, is likely end up on my year-end Top 10 list. And though its audience is tiny (hence its cancellation; the show checks out for good Jan. 22), it has attracted some hardcore fans, inside and outside the Whedonverse. But the varied reactions of critics and viewers have been as difficult to summarize as the show’s central concept, which concerns child-like “dolls” who are “imprinted” for various engagements — some of them sexual, some of them not.

Whedon said he’s proud of what the his cast, writers and crew accomplished and opined that some of the episodes coming up are “ridiculously good” (and even if you’ve never seen the show before, it’s worth tuning in Friday’s episodes just to see Summer Glau’s spellbindingly creepy character and to see Enver Gjokaj demonstrate, once again, his breathtaking versatility).

But Whedon also talked about how he has been “frustrated” by Fox’s skittishness when it came to what he thought would be one of the show’s central concepts: The exploration of sexuality and intimacy, in all its forms.

“The problems that the show encountered werent standalone versus mythology [episodes],” Whedon said. “Basically, the show didnt really get off the ground because the network pretty much wanted to back away from the concept five minutes after they bought it. And then ultimately, the show itself is also kind of odd and difficult to market. I actually think they did a good job, but its just not a slam-dunk concept.”

Midway through its first season, “Dollhouse” hit upon a espionage-thriller format that seemed to be a better fit than the standalone, engagement-oriented episodes that aired early in the show’s run. But Whedon said he always wanted look more closely at the desires and fantasy lives of the Dollhouse’s clients. Even into the show’s second season, however, that idea made Fox “twitchy,” according to Whedon.

Part of the show was going to be about “what we get from each other in our most intimate relationships, be they sexual” or whatever else, Whedon said. But “the interest in the client kind of moved away.”

“When youre dealing with fantasies, particularly sexual ones, youre going off the reservation,” Whedon said. “Youre not going to be doing things that are perfectly correct. Its supposed to be about the sides of us that we dont want people to see. The idea of sexuality was a big part of the show when it started and when that fell out, when the show turned into a thriller every week, it took something out of it that was kind of basic to what we were trying to do.”

“We got the espionage that the network wants, but its the questions about identity that we want,” he noted. “There are other things about the show that never came back, and I didnt really realize it until the second season — [there were] things that we were ultimately sort of dancing around…. We always found ourselves sort of moving away from what had been part of the original spark of the show and that ultimately just makes it really hard to write these stories.”

I told him I had trouble wrapping my head around the idea that Fox wanted less sex.

“This is the thing that caught me off guard,” he replied. “First of all, network television has taken great treads backwards in terms of dealing with sexuality or the body or anything. I mean, now on cable everybody is prancing about naked and whatnot. On the networks, its gotten different since I was last making TV.

“Fox sort of has that reputation for ’sexy’ or ‘edgy’ or blah blah blah, but they dont actually want that and it frustrates me,” he continued. “Its the classic American double standard: torture — great. Sex — oh, thats so bad!”

Whedon was careful to point out that he could understand the wariness of both the network and the viewers. After all, the dolls, including Echo (Eliza Dushku), aren’t exactly in a position to give what we think of as informed consent to specific engagements (which can range from bank heists to marriage to the kind of heartbreaking exploitation seen in the recent, wonderfully written episode “Belonging”).

“People responded to ['Dollhouse' by saying], ‘This is trafficking. This is sex for money.’ It wasnt just sex,” Whedon said. Part of the problem was “the other implications of what was originally supposed to be somewhat more of a fantasy. The real-world version of [this kind of activity] was I think what made the network really twitchy and I cant really fault them for that. I just thought when I went in and pitched it …you know, it frightened me too [but I thought] we all got that that was what we were doing.”

But it’s not as if Whedon sounded unhappy with the result of the last couple of years of work.

“Ultimately, I think we got to touch on the important subjects. The structure and the tone of the show changed, but the basic premise was there and the cast and the writers and everybody did phenomenal work” he said. “We did manage to keep the questions about who we are and the interpersonal stuff and [there was] the amazing ensemble and everybody shining and doing cool stuff.”
But at the same time, there are no “Dollhouse” comic books or other spinoffs to come at some future date. When the Dollhouse shuts its doors, he’s moving on to other projects, including a “Dr. Horrible’s Sing-Along Blog” sequel and a March directing stint on “Glee,” all of which he discusses in the interview transcript below.

“Im going to finish this. Whats interesting about it is there,” Whedon said. “I dont feel like there is some unfulfilled thing that would be well served by [continuing the story]. If I make a Web series its not going to be owned by Fox. Lets be very clear on that one. Or [owned by any studio or network] — that’s not a dis on Fox.”

But in our 45-minute talk, the idea of Whedon working for a broadcast network didn’t come up. It sounded as though Whedon wasn’t particularly interested in returning to that arena any time soon.

“My favorite thing is to shake it up, is to bring as much thats different as I can every week — to get people to a different place. But television is largely designed to do the opposite,” he said. “Hit shows are basically designed to give people exactly what they expect, and thats not to slam on every other show. There are plenty of shows that surprise you, that are humorous where you expect them to be maudlin or scary where youd expect them to be romantic. But ultimately most people [watch] TV shows going, ‘OK, this is “Party of Five.” Im going to cry.” And Im not really good at that.”

“I mean, there has to be a reason behind the story, [something] besides the story itself. Even I just want to evoke something that I remember,” he added. “Even if its that small, there still has to be some reason beyond, ‘We need to squeeze out another 40 minutes of entertaining people.’ It has to go further than that or I get not only bored, I get a little ashamed.”

Whedon, who had a huge hit in 2008 with the online musical “Dr. Horrible’s Sing-Along Blog,” said he’s investigating the cable realm and he’s also very keen on creating a new online venture.

“The restrictions [in cable] are fewer, but the process of developing it with a studio and a network, even a cable network is still rough. It takes an enormous amount of time to run a show and to get it off the ground takes just a huge amount of steel. Im interested in it,” he said. “But for me, the Internet is slightly more interesting right now just because I feel like we have to get in there and start figuring out how to create entertainment without the networks and the studios, because theyre basically trying to figure out how to create and entertain without us.”

To illustrate his point, he noted that residual payments for “Dollhouse” were “pennies, because they’re not re-running it, they’re just putting it on Hulu.”

“That whole system is crumbling and with the advent of the new technology, crews are going to get smaller and when things move to the Internet, there is no format where people make the kind of money theyve made in television,” he said. “The artistic community is more and more left out of the equation, so the trick is going to be finding out how to make the Internet work in such a way that people [can get by] because its not going to pay TV money. Its not.”

Once he’s done making “Dollhouse,” he’ll continue to work with Maurissa Tancharoen and Jed Whedon on a “Dr. Horrible” sequel, the title of which Whedon declined to reveal. He will say that he expects to corral star Neil Patrick Harris and “the rest of the gang” from the first “Dr. Horrible” for the second installment of the Internet musical.

“What we need to do is get enough time to really solidify what weve got, really get the [script] in shape and then it all becomes about Neil and his availability. Weve been basically telling him, ‘Do whatever you want,’ which he clearly took to mean, “Do everything there is,” Whedon said with a laugh. “But we were like, until we have a script, we cant really think of a schedule or a venue or how were going to do this and what size it will be, if were going to get any kind of any kind of backing from a studio or an independent.”

As far as bigger new ventures, he’s got various “irons in the fire,” but none are quite ready to be announced yet. In the immediate future, he’s focused on finishing “Dollhouse’s” second season. Production on the series finale, “Epitaph Two: Return,” which airs Jan. 22, gets underway soon.

As for the two-parter that airs Friday, it’s a dizzyingly entertaining, energetic mixture of mythology, paranoia and wit. Watching scenes between Summer Glau (the eerie tech genius Bennett) and Fran Kranz (the hyper tech genius Topher) or between Olivia Williams (Dollhouse manager Adelle) and Ray Wise (who plays a bigwig in the Washington, DC, Dollhouse) is like watching great tennis matches. Each of these actors is at the top of his or her game, and “Dollhouse’s” twisty story of secrets, lies and coverups promises to get even more strange, complex and compelling before the show ends its run.

Bonus: One of Friday’s episodes contains the funniest John Cassavetes reference you’ll hear on television all year.

There’s your marketing slogan, Fox. Go for it!

What’s below is the transcript of my interview with Joss Whedon. It has been edited and condensed a bit. We talked about (roughly in this order): “Dollhouse,” the new shooting style Whedon adopted for the second season of the show, “Dr. Horrible,” cable TV and Internet ventures, how the writers lost the writers’ strike, directing “Glee” in March and Whedon’s bid to revive the “Terminator” franchise.

Ryan: Im sad that the show is kind of in its final run. How are you feeling about where things are heading and the fact that its ending?

Whedon: Yeah, Id put myself in the sad camp, but right now Im mostly just There are a lot of stories to tie up and a lot of things to pay off and we want to make sure we go out with a bang and so right now were working on the bang. So Im just focused on making it all as intense as possible.

Ryan: Yeah well, I wanted to ask you about that ending. I mean, getting the second season was such a miracle. Did you come into Season 2 thinking, “Well, I have to have a possible endgame in mind in case we dont get a Season 3?” I guess Im wondering, when did you start thinking about the end of Season 2 or the end of the show?

Whedon: Well, you know, from the start. But thats not to say that I was Mr. Doom and Gloom. I am, but thats not evidence of it. As I said before, its the same way we did [things] on “Buffy” every year. You go in knowing how many episodes youve got and you make sure that you can have some sense of closure in that time if you dont get any more. Its how Ive always operated. It makes this a little bit easier because we were headed for something of an ending, obviously. We would have gone a different route had they told us to, but we always had this one in our pocket.

Ryan: So where are you now with the actual writing and production? Last I heard you were filming Episode 11.

Whedon: Yes, now were onto 12 and prepping 13 [which is the series finale] and going over the script. Its hard. There is so much that we as a staff understand and so many people that we [would like to revisit before the show ends], not just our regulars, but so many other characters and there are two timelines. There is a whole lot of narrative. Right now, Im just sort of trying to track [the last episode] from the point of view of somebody who hasnt been playing with it all this time and make sure that it still makes sense.

Ryan: Im glad you brought up the second timeline. There were scenes with Felicia Day from that future timeline that were supposed to be in the first episode of Season 2 — will those be seen before the show’s done and are you going to shoot more of that kind of thing?

Whedon: Definitely yes. “Come with me now to the time of Mag and Zone and tiny Caroline and well see where their trip eventually led and what happened to everybody in that timeline.”

Ryan: So just so Im totally clear on what’s going to be in the last episode: You had some stuff with those folks already in the can, and you are going to shoot additional scenes with those people?

Whedon: Yeah. We had always intended to return to them. I had shot some stuff for the first episode [of Season 2] but the first episode was long and crowded with information and so we shelved it. Then when we got to the last episode [of the series], we knew that we basically wanted to pick them up in the same place, so we made the completely artistic (and in no way influenced by our utter lack of funds) decision to use some of the footage we had already shot. Completely artistic.

We were using [the post-apocalyptic scenes] as an introduction to the first episode [of Season 2]. The scenes were sort of a wraparound and now we’re just using it as in introduction to the continuing story. We had planned to continue their story over the course of several episodes, but we were so busy trying to define the show in the modern day that we just never had the opportunity to sort of go there. But at the end [of "Dollhouse's" run] we definitely will.

Ryan: Ill ask if the finale is called “Epitaph 2.”

Whedon: It is.

Ryan: Really?

Whedon: Yes.

Ryan: Thats wild. A fan had asked me to ask if it would be called that…

Whedon: Honestly, I just looked at [the script] this morning and it said Epitaph Two, the Return.” We might end up calling it Santas Bloody Hand” but thats what its called right now. [Note from Mo: I've been informed by a "Dollhouse" source that it's actually "Epitaph Two: Return."]

Ryan: Just talking about the bigger picture of the show and how it’s evolved, you have talked other times about the fact that you always wanted standalones as part of the “Dollhouse” mixture. And there have been some really good ones. So you’ve been on record as wanting a mixture of standalones and mythology, but I’m wondering if the current climate of network TV in general is just not going to be friendly to the amount of mythology that you would like to put out there and that people seem to respond to.

Whedon: Its going to be friendly if the people show up. The problems that the show encountered werent standalone versus mythology. Basically the show didnt really get off the ground because the network pretty much wanted to back away from the concept five minutes after they bought it and then ultimately, the show itself is also kind of odd and difficult to market. I actually think they did a good job, but its just not a slam-dunk concept. It wasnt like our numbers were huge and plummeted. They were tiny and still somehow managed to plummet. We alienated both our viewers.

Ryan: In terms of the network backing away from the concept — you were able to kind of get back and do your thing midway through Season 1. How much of that was a factor in Season 2?

Whedon: Very much. I mean, midway through Season 1 [it was,] “OK, here is the show.” We got the espionage that the network wants, but its the questions about identity that we want. There are other things about the show that never came back and I didnt really realize it until the second season, [there were] things that we were ultimately sort of dancing around.

The idea of sexuality was a big part of the show when it started and when that fell out, when the show turned into a thriller every week, it took something out of it that was kind of basic to what we were trying to do. And then also the fact that it was a thriller every week meant that we couldnt go from genre to genre, which is really what I wanted to do. But we did manage to keep the questions about who we are and the interpersonal stuff and [there was] the amazing ensemble and everybody shining and doing cool stuff.

But there was We always found ourselves sort of moving away from what had been part of the original spark of the show and that ultimately just makes it really hard to write these stories. It makes it twice as hard as usual. [Normally] you have that sort of kernel that youre building on thats completely solid. You know, “She is a little girl with super powers.” “He is a cranky doctor who always gets it right.” Whatever it is you sort of can build off that. When youre trying to back away from your central premise at the same time as youre making that [show,] it gets complicated.

Ryan: How do you think you backed away from it? Because she has had sex with clients, she even married a client. There have been some sexual components to missions. Im just wondering if you could expand on that a little bit.

Whedon: Well, its just in the sense that, part of what was going to be the show was the idea of who these people were — [part of it was going to be about] these clients and what their fantasies were, what they expected, what they wanted. You know, what do we get from each other in our most intimate relationships, be they sexual or [whatever else]. The interest in the client kind of moved away.

We werent going to tell little [client] stories. They were going to be scary, exciting or funny. They werent going to just be people ruminating. But these little stories inevitably just took on a thriller component, and if Echo is sleeping with somebody its to service something else.

Ryan: Was that moving away from that sort of thing at the request of the network?

Whedon: Yes, but you know You got dominatrix Echo last season, which is kind of a joke. Luckily, its a good-looking joke, but its basically us just sort of throwing a bone to the concept [of Echo having a sexual engagement]. Were not actually going to talk about what those things entail anymore than is [necessary] and then we move on to our thriller plot, which is which works when it works. And I think some of the episodes coming up are ridiculously good, but I do think that was part of the problem.

Ryan: Im just trying to wrap my head around the fact that Fox didn’t want more sex in a show.

Whedon: This is the thing that caught me off guard. First of all, network television has taken great treads backwards in terms of dealing with sexuality or the body or anything. I mean, now on cable everybody is prancing about naked and whatnot. On the networks its gotten different since I was last making TV.

Fox sort of has that reputation for sexy or edgy or blah, blah, blah, but they dont actually want that and it frustrates me. Its the classic American double standard –torture, “Great.” Sex, “Oh, thats so bad.”

And but this was also more complicated because people responded to this [by saying], “This is trafficking. This is sex for money.” It wasnt just sex. It was also the other implications of what was originally supposed to be somewhat more of a fantasy. The real world version of [this kind of activity] was I think what made the network really twitchy and I cant really fault them for that. I just thought when I went in and pitched it …you know, it frightened me too [but I thought] we all got that that was what we were doing.

Ryan: Until you werent.

Whedon: Until we werent.

Ryan: Right. Well but I think thats actually something Ive really responded to in the show — “Dollhouse” did, to some degree, explore these ideas of exploitation and manipulation and I think and did so with some pretty intriguing female characters and male characters too. I mean, this wasnt just her prancing around in a leather harness. There were some difficult questions about exploitation and the ickier parts of that.

Whedon: Exploitation wasnt the whole theme. It was going to be a question of, how much of this fantasy will people let us have. Now, I didnt make exactly the same show [that was pitched], but we did get to delve in the territory a little bit. The idea was always, how much of the fantasy will [viewers] accept and how much will they go, “You know what, this just is too much like real-world situations that are truly appalling and so I cant let the fantasy happen.”

Because as I said before, when youre dealing with fantasies, particularly sexual ones, youre going off the reservation. Youre not going to be doing things that are perfectly correct. Its supposed to be about the sides of us that we dont want people to see. For me it was exploitation was part of it, but it was more about the idea of our identities and what we consider to be ourselves and how relating to other people affects that, how we incorporate other people in ourselves and how we project ourselves onto people and how everybody relates to everyone in their lives through the filter of their own beliefs, experiences and memories. That to me is kind of fascinating. What we think we want from each other when we say “I love you” or any of those other things is, I think, very complex and sometimes very depressing and sometimes kind of weirdly beautiful.

Ryan: Im sure youve talked about this before, but there is obviously a parallel to creating these fictional stories for various mediums, which you do, and the creating of these realities and identities for the dolls. Was that ever part of the appeal of “Dollhouse” for you — that your job is about creating emotional states for the viewer and thats not too far off from what is happening to the dolls or even their clients?

Whedon: Honestly, I didnt really see the parallels between me and Topher until it was pointed out to me. I laughed and laughed. [The show] was created around the concept of, “Who do they want me to be?” That was literally the question we were asking at that lunch [at which Whedon and Eliza Dushku hatched the show's concept]. When I broke down the idea for [Eliza] she said, “Well, thats my life.” But then as I broke it down more, I realized, well, actually, its kind of mine too. It is sort of about the creation, but also the removable self. And the idea of becoming somebody else for a little while, which the writer gets to do all time if he is lucky.

Ryan: Do you feel like you got to say what you wanted to say with “Dollhouse”? Will you walk away from it thinking. “The stuff that really mattered to me got said”? Or will you think that it didnt get said because of those constraints we were talking about earlier?

Whedon: Ultimately, I think we got to touch on the important subjects. The structure and the tone of the show changed, but the basic premise was there and the cast and the writers and everybody did phenomenal work. Although I definitely felt some frustration at the show having to find itself and America getting to watch while it tried, Im really proud of where we ended up and in fact was very clear on the way in which this could continue in a new paradigm and work for everybody, should it go on.

Ryan: Will it go on in any format of any kind?

Whedon: No, I dont think so.

Ryan: No? Web series, a comic book, anything?

Whedon: No. Im going to finish this. Whats interesting about it is there. I dont feel like there is some unfulfilled thing that would be well served by [continuing the story]. If I make a Web series its not going to be owned by Fox. Lets be very clear on that one. Or [owned by any studio or network] — that’s not a dis on Fox. But Ill make [a Web series] of my own and I dont think Eliza is dying to jump onto the tiny screen right now. And it doesnt work as a comic [because it's] just people talking.

Im not going to go and try and make a movie out of it because Ive already made a movie where I had to explain who ten people who already know each other are. It was exhausting. So I think that well just well say, “Here is our best effort,” go out with a bang and then we will move on. I think what we will end up having done is sort of this very glorious 26-hour miniseries.

Ryan: In terms of the second half of the season, will it be pretty much the roster of guest cast and main cast that weve already seen or will there be new folks coming on board?

Whedon: We will see some old faces including Well, I dont know. I dont know what I should tease, but yeah, we want to wrap every one up. The problem were having right now with the thirteenth episode is we dont have two pennies to scrape together and we have so many people to resolve, so some of the people that we have seen in recurring fashion or just really wanted to put in, we wont be able to [include] because we ran out of dough.

Ryan: I just wanted to talk a little bit about the different production style that you went with in Season 2 to save some dough this season. Is that something that youve found that you want to continue with or was it not that big of a change?

Whedon: No, for me it was enormously different and I absolutely am thrilled with what we were able to achieve. Lisa Wiegand, our director of photography, just brought so much energy and so much texture. And working in HD beats the hell out of film as far as Im concerned. Its a lighter package. You move faster. It is not the future. It is the present and I cant imagine shooting on film again.

Ryan: Really?

Whedon: Yeah, I mean, [what's great is] just the ways in which youre able to manipulate the footage you have, the speed at which you get it and are editing it. You know that you can be handing it off as youre shooting it. You look at a monitor while youre shooting and you see exactly what is going to be on TV. You dont see a grainy image and go, “Gee, I hope that works.” Thats very helpful. So we scored massively with our DP. She is tremendous, but the tech itself is also just [much better]. I just I dont like moving slowly. I get bored and I think it affects performance and so its for me, this is the only way to go.

Ryan: You touched on this briefly, that the idea for “Dollhouse” was to have an anthology feel, and I think there was some of that, to the extent that you had an “origin story” for Sierra one week then a mythology episode and then an Adelle story and things like that. Was that kind of part of the appeal of trying this concept out and would that be the appeal of any future work that you might do in the TV arena?

Whedon: Its kind of my signature and its kind of my curse. My favorite thing is to shake it up, is to bring as much thats different as I can every week — to get people to a different place. But television is largely designed to do the opposite.

Hit shows are basically designed to give people exactly what they expect, and thats not to slam on every other show. There are plenty of shows that surprise you, that are humorous where you expect them to be maudlin or scary where youd expect them to be romantic. But ultimately most people [watch] TV shows going, “OK, this is ‘Party of Five.’ Im going to cry.” And Im not really good at that.

Im the guy who gets twitchy when shooting takes too long, who gets twitchy when he has to pull the same trick out of the same bag, because ultimately Im interested in two things. Im interested in entertaining people with stories and Im interested in breaking those stories down and going, “Why am I doing this? Why are you entertained by this? What does this mean? Why?”

I mean, there has to be a reason behind the story, [something] besides the story itself. Even if I just want to evoke something that I remember. Even if its that small, there still has to be some reason beyond, “We need to squeeze out another 40 minutes of entertaining people.” It has to go further than that or I get not only bored, I get a little ashamed.

Ryan: When I was soliciting questions for this interview, I kept getting, “Why isn’t Joss Whedon going to cable or just going off and doing his own Joss Whedon online portal or whatever?”

Whedon: Well I can answer both those questions — because Fox forgot to cancel my show. They looked on their calendars and went, “God, we were supposed to cancel this months ago!”

The Internet is something that Ive been investigating heavily in terms of just squeezing out another project and in terms of doing a bigger-picture Mutant Enemy portal [Mutant Enemy is the name of Whedon's production company]. Its not like people are running at me with money. Its not like people are charging towards me with bags of money. The economy isnt the best ever, but its my feeling that for a small investment, you could have quite an extraordinary return.

As far as cable, Ive started taking a couple of meetings and stuff. Ive definitely learned “Oh, cable and network TV are different.” [laughs] Im not the brightest fellow and so Ive just started to go, “Those guys can do whatever they want!”

Of course that is not actually the case once it gets up on the screen. The restrictions are fewer, but the process of developing it with a studio and a network, even a cable network, is still rough. It takes an enormous amount of time to run a show and to get it off the ground takes just a huge amount of steel. Im interested in it. But for me, the Internet is slightly more interesting right now just because I feel like we have to get in there and start figuring out how to create entertainment without the networks and the studios, because theyre basically trying to figure out how to create and entertain without us.

Ryan: Yeah, I think youre right there, but as you say, its not easy to kind of create a new model for how everyone gets paid and makes what they want to make.

Whedon: Yeah, but people arent going to make what they want to make anymore. Thats not going to happen. The rainbow, the pot of gold at the end of the rainbow got smaller, significantly smaller. [Television is] less and less of a lucrative equation.

Residual checks that are so important to the writer, theyre coming in for “Dollhouse” and theyre pennies because theyre not re-running it. Theyre just putting it on Hulu. So that whole system is crumbling and with the advent of the new technology, crews are going to get smaller and when things move to the Internet, there is no format where people make the kind of money theyve made in television.

I think the idea is going to be to create enough jobs so that more people are working so that they can work on more things and that the middle-class writer can emerge and [right now that person is] sort of being squeezed out.

You know, we didnt win the [writers'] strike. It didnt go our way. The artistic community is more and more left out of the equation, so the trick is going to be finding out how to make the Internet work in such a way that people [can get by] because its not going to pay TV money. Its not. In fact, people are going to have to be entering the business less with the idea of making a fortune and more of the idea of just making product, getting it done, getting it out there and then hoping that there is a way in which it can support [a creative community].

Ryan: You said something on Whedonesque recently, “Soon you shall know my next project.” Is that a specific show or specific company or endeavor?

Whedon: There are irons that are in the fire and when its time to pull one out and brand myself with it, I will, but there are a couple of different things. Im still sort of trying to figure out which one is going to get the nod, but first I have to finish reading the script for [Episode 13] and make all the episodes.

Ryan: I certainly can understand that cable is not necessarily the land of enchantment where everything goes your way, but to me it seems like there might possibly be something for Joss Whedon there. I watch a lot of TV and I think the kind of stories that you want to tell — well, it seems to me that some cable networks are looking for boldness. Maybe I’m being naive.

Whedon: No, I think its absolutely I think amazing work is being done right now. While I talk about Rome burning, I like Rome. It looks really pretty right now.

Ryan: I agree.

Whedon: “To be in Rome because its warm all the time” The stuff that is going on in cable is really interesting and I absolutely think I would be interested in finding a home there. I still love the medium, but first, I need to sort of scale back for a little bit, also because I went from the show to the movies to the show without a break and I got tired. I need to shore up for a few months and chill so that I can come back hard because Im pretty beat down.

And Im not interested in boldness, FYI. I just want to do nudity because its all about the nudies.

Ryan: Of course. “They get to be naked!”

Whedon: “Theyre cops, but theyre nude.”

Ryan: “And theyre singing!”

Whedon: No, no. I havent gone that crazy.

Ryan: Well I have to say, if youre feeling beat down, the perfect pick-me-up would be a “Dr. Horrible” sequel.

Whedon: Well, Im sure I dont have any interest in doing that.

Ryan: No. Why would you? Well, Jed said before and you have said that you want to shoot it next year. Do you have a more specific time frame worked out for when you would shoot it?

Whedon: What we need to do is get enough time to really solidify what weve got, really get the thing in shape and then it all becomes about Neil [Patrick Harris] and his availability. Weve been basically telling him, “Do whatever you want,” which he clearly took to mean, “Do everything there is.” [laughs] But we were like, until we have a script, we cant really think of a schedule or a venue or how were going to do this and what size it will be, if were going to get any kind of any kind of backing from a studio or an independent. None of those questions could be answered until we were holding a draft in our hands.

Ryan: And can I tell the world that its titled “Dr. Horrible 2: Electric Boogaloo”?

Whedon: Well, yes. That or “Live Free Or Day Out with Dr. Horrible.”

Ryan: So you dont really have a title yet, I take it.

Whedon: We do. In fact, the project originated with me telling the other guys, “Here is the title” and them going, “Yep, thats it.” But were not telling anybody. Its kind of funky.

Ryan: Damn you.

Whedon: All the sudden Ive gotten kind of coy.

Ryan: Well, I look greatly forward to finding out the title and laughing and crying and cursing you if you make me sad. But regardless, it’s going to be Neil and all the rest of the folks who were in the first one?

Whedon: That would be the plan. Obviously things change, but the plan would be to get the old gang back together.

Ryan: Plus Sue Sylvester. That would be my ideal villain for next time. Just briefly, can I ask you about directing “Glee” — when does that occur?

Whedon: That will happen lets see, late February Ill start prepping. Ill shoot it in March.

Ryan: Do you have any say in picking songs?

Whedon: No, no. And you know what? I shouldnt, because every time a song comes on I go, “Man, I would have never thought of that.” I havent spent much time around popular music. I tend to listen to the things I listen to. I grew up listening to show tunes and Neil Young and some other stuff. I think those guys are kind of genius at it and you know, this is not “Joss Whedons Glee.” Im just a shot monkey.

I fantasize about it about it. Dont you? Dont you ever think “Oh, you know what? Id love this character to sing that song.”

Ryan: Of course, yeah. Would you have any influence on casting?

Whedon: Again, these guys seem to know what theyre doing.

Ryan: Right, even as a shot monkey though you would get a say, right?

Whedon: Well, the director sits in on the casting sessions, yes. But the show is not huge with guest casts. [They get] somebody like Kristin Chenoweth, but you know, its not like youre going to have people reading for the part of Kristin Chenoweth.

Ryan: So reviving the “Terminator” franchise, how is that going?

Whedon: Were still negotiating. Theyre playing it cool. They havent contacted me in any way yet, but you know, I think thats just an opening gambit. You know, they want me to come back [with a higher bid for the franchise] and Im probably going to go up to $12,000.

Ryan: Wow.

Whedon: Yeah, you know, there is give and take.

Ryan: And you have to spend money to make money.

Whedon: Exactly. I just think that I could do a really good “Terminator” movie, kind of on a smaller scale while somebody else actually makes the big ones. After I give them the $12,000, Im not going to have as much left to make the movie as Id hope.

Ryan: So you’ll have, like, $800 to make the movie.

Whedon: Yeah, but it will all be on the screen. I can really make it look like $850.

Ryan: Last question. Is there part of you thats going to be glad to move onto new opportunities and new things?

Whedon: You know, the thing that I do to waste time is think of things I want to make. Thats how my mind is employed. So Im going to get to make at least a couple of them next year and thats very exciting for me. I have more things to say.

Actually, I dont have more things to say, but I have more stories to tell in which I say the same old things again.

Source

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So I’m one of the ‘Dollhouse’ fans who are really upset about the cancelation announcement. Is there any chance at all that you guys would consider moving it to another network?

“I don’t know. I mean, I’m going to say I don’t think so. I feel like we’re probably going to wrap it up for people at the end of this second season. We had time to sort of see where we wanted to close things off, but…I think this is going to be it. We’re really proud of it. And I feel like two seasons to live on is better than the one would have been. And we’re grateful for that, that we got to come back and play some more and bring some more to the fans.”

I had asked you a year or so ago if you’d want to do the ‘Dr. Horrible’ sequel when Joss Whedon does that. And you said yes. Is that still something you’d be interested in?

“Absolutely! If Joss calls me after this. [laughs] But no, really I would love to, and Jed (Whedon) and Maurissa (Tancharoen) are so talented and so much fun. And if we all… if it comes about, I would love to audition. [laughs]”

Credit: popeater.com

Via: Eliza Dushku Central

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Joss Whedon has become something of a tortured artist since ‘Buffy the Vampire Slayer’ ended its highly successful seven-season run in 2003. Since Sunnydale was destroyed and ‘Angel’ got pulled right when it was finding its own identity post-’Buffy,’ Whedon has yet to find another long-running hit. It’s still hard to believe that a show as great as ‘Firefly’ only lasted one season!

Whedon’s bad luck continues with the recent announcement that Fox is pulling the plug on ‘Dollhouse,’ a series that had enough of a following — and potential — to warrant another season. Would ‘Dollhouse’ have really hit its stride further down the road? We’ll never know. Here are some other sci-fi television series that met their makers too soon.

‘Angel’
Number of Seasons: 5 (1999-2004)
Number of Episodes Aired: 110
Number of Episodes Unaired: 0
Network: The WB
Yes, ‘Angel’ did just fine, running for five seasons and enjoying a fan following that was almost as large and powerful as that of ‘Buffy’’s. By all means, ‘Angel’ was a success — the problem is that it was canceled just when it started to get really good. By season 5, ‘Angel’ was its own show, not just “a ‘Buffy’ spin-off,” and it could’ve gone in some very interesting and exciting directions if it had stayed alive — or undead, as it were.

‘Bionic Woman’
Number of Seasons: 1 (2007)
Number of Episodes Aired: 8
Number of Episodes Unaired: 0
Network: NBC
This “re-imagining” of the 1970s series chronicling the adventures of a hot bartender (Michelle Ryan) who becomes an even hotter “Bionic Woman” when she gets newfangled parts after almost getting killed in a car accident was initially both too dark and too goofy, with Katee Sackhoff stealing the show as Ryan’s malfunctioning predecessor/nemesis. However, the show was just starting to get its sea legs when production was halted due to the Writer’s Strike that began in November 2007.

‘Birds of Prey’
Number of Seasons: 1 (2002-03)
Number of Episodes Aired: 13
Number of Episodes Unaired: 0
Network: The WB
Loosely based on the DC comic book of the same name, ‘Birds of Prey’ featured the adventures of the Huntress, the Oracle and Black Canary in “New Gotham” (a Gotham City without Batman). For the most part, the show seemed oddly embarrassed by and resistant toward its comic book origins (Q: Why in the hell doesn’t Huntress wear a mask? A: Because the producers need us to see Ashley Scott’s hot face at all times), but there were enough pretty-good episodes amongst the mess (one featuring classic Batman villain Clayface) to make one think that it could’ve been a great show with a little more time — and maybe some writers that had a little more respect for the source material. And, yeah, Ashley Scott was pretty hot.

‘Brimstone’
Number of Seasons: 1 (1998-99)
Number of Episodes Aired: 13
Number of Episodes Unaired: 0
Network: Fox
A New York City police detective is killed in the line of duty and sent to Hell because he enjoyed killing the man who raped his wife. The Devil sends him back to the land of the living to capture 113 souls that have escaped the underworld — unfortunately, our hero didn’t get close to snagging all 113 souls with just 13 episodes. Dark, funny and clever, ‘Brimstone’ may’ve been too ahead of its time to connect with an audience — John Glover was especially delightful as Ol’ Scratch himself. And when will this underrated series finally make its way to DVD?

‘Firefly’
Number of Seasons: 1 (2002)
Number of Episodes Aired: 11
Number of Episodes Unaired: 3
Network: Fox
Another Joss Whedon Special, ‘Firefly’ was actually top-notch science fiction, mixing swaggering Western elements and high Space Opera melodrama with the trademark Whedon sarcasm and attitude we’ve come to know and at least sort-of love. The ragtag crew of the good ship Serenity was good company for all of 11 aired episodes — Whedon, however, ended up having something of the last laugh, as DVD sales of the series were good enough to warrant a follow-up feature length film, the equally excellent ‘Serenity’ (2005).

‘Invasion’
Number of Seasons: 1 (2005-06)
Number of Episodes Aired: 22
Number of Episodes Unaired: 0
Network: ABC
A case of unfortunate timing, poor handling and just plain bad luck, ‘Invasion’ barely invaded before it retreated and was never heard from again. Hurricane Katrina made ABC pull some of the marketing campaign that focused on the series’ disaster elements, instead concentrating strictly on the alien invasion plot. Despite a promising start, viewers started to drop like flies, and the network put the series on hiatus after the 10th episode until Jan. 2006. ‘Invasion’ finished its 22-episode run in May 2006. The series had such potential — how could you go wrong with William Fichtner? — and the producers announced some exciting future plotlines … for a future that would never come.

‘Jericho’
Number of Seasons: 2 (2006-08)
Number of Episodes: 29
Number of Unaired Episodes: 0
Network: CBS
‘Jericho’ made nuclear war sexy, as the residents of a small Kansas town manage to turn their lives into a grand soap opera filled with secrets, lies and infidelities in the aftermath of a large-scale nuclear attack on the United States. The show was a blast (ha!), with some truly startling set pieces and character revelations along the way. It was canceled after its first season, but fan support managed to get it renewed for a second — and that’s it. Too bad — there was a lot more of the brave new world to explore.

‘The Lone Gunmen’
Number of Seasons: 1 (2001)
Number of Episodes: 13
Number of Unaired Episodes: 0
Network: Fox
A goofy spin-off of ‘The X-Files’ that just didn’t quite work (but nonetheless almost did), ‘The Lone Gunmen’ proved that everyone’s favorite conspiracy theorists worked better as supporting characters and not stars of their own show. However, some of the episodes had that magic Chris Carter touch, including the rather eerie pilot episode in which the boys uncover a government conspiracy to crash a plane into the World Trade Center (the episode aired about six months before Sept. 11). We wouldn’t have minded their company a little longer, but Fox pulled the plug after 13 episodes; a bitter Carter blamed fans for not loving the show enough and ended up killing off the Gunmen in the final season of ‘The X Files.’ Sheesh, Chris!

‘Millennium’
Number of Seasons: 3 (1996-99)
Number of Episodes: 67
Number of Unaired Episodes: 0
Network: Fox
The sort-of sister show to ‘The X-Files’ was a great series in and of itself, with Chris Carter given the creative freedom to really get dark and weird about an ex-FBI agent (Lance Henriksen, who was excellent) investigating serial murderers with ties to both the supernatural and a secret organization with prophecies of an upcoming apocalypse. The series took place in the years leading up to 2000, but Fox pulled the plug in ‘99 — after a strong first season, ratings began to slip when it was condemned to a Friday night slot in the second. We could’ve predicted that.

‘Star Trek: TOS’
Number of Seasons: 3 (1966-69)
Number of Episodes: 79
Number of Unaired Episodes: 0
Network: NBC
It’s hard to imagine that, once upon a time, ‘Star Trek’ wasn’t considered much of a success, considering we now live in a world with ‘Star Trek’ conventions and zillion-dollar ‘Star Trek’ reboots directed by J.J. Abrams. Yes, once upon a time, ‘Star Trek: The Original Series’ was a struggling little sci-fi show, never dreaming of the huge pop culture phenomenon it would become. It barely made it past the first season and ended up only being on the air for three. Another, oh, 20 seasons of the adventures of the starship Enterprise probably would’ve been just fine with everyone.

‘Terminator: The Sarah Connor Chronicles’
Number of Seasons: 2 (2008-09)
Number of Episodes: 31
Number of Unaired Episodes: 0
Network: Fox
What’s wrong with you, Fox? It’s a ‘Terminator’ TV show. Yes, the ‘Terminator.’ And Summer Glau is in it. You couldn’t have given it another chance? At least one more season, especially since things started to really get good in the second? Too bad. Unlike the characters on the show, you can’t go back and fix your mistakes, Fox. Hmph.

‘Tru Calling’
Number of Seasons: 2 (2003-05)
Number of Episodes: 25
Number of Unaired Episodes: 1
Network: Fox
Before Eliza Dushku’s ‘Dollhouse’ was canceled by Fox, Eliza Dushku’s ‘Tru Calling’ was canceled by Fox — and also after only two seasons, at that. Eliza played Tru Davies, a morgue worker with a unique connection to the dead people in her place of employment — and the ability to go back in time 24 hours before their deaths and attempt to keep them from dying. ‘Tru Calling,’ while sometimes clumsy, was filled with mystery and intrigue, never interested in giving easy answers to its questions of fate vs. free will. There were a lot more stories to be told in this world, but alas — Fox opted not to go back and keep it from dying.

Source

And what do you think? What other sci-fi shows were taken away from us too soon?

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Hear it here. Hey, that’s really why I started twitter, the rumors/news IS true: Dollhouse will not cont. past these 13 eps :( BUT… There’s always a but… I can’t express enough– this has been one of the MOST rewarding experiences of my career. Thank you guys!

Yeah, I’m sure Eliza is BUMMED about the end of Dollhouse. I loved her in the series, I loved seeing her on TV on a weekly basis and I loved that she starred in a Whedon project. I’m not sure if she’ll have the same opportunity again in the future but … well … the whole thing just sucks.

Eliza did tweet while she was at the game last night, showing that she might’ve been having a good time … or at least was being a good sport:

This Boston girl can enjoy a Laker game. Shannon Brown exploded a coupla times- dunked the net OFF. Go Celtics, tho ;)

Eliza rulz … she may be out of work at the moment but she won’t be for long … I’m sure of it.

[Photo credit: Splash News; Source]

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Hear it here. Hey, that’s really why I started twitter, the rumors/news IS true: Dollhouse will not cont. past these 13 eps :( BUT… There’s always a but… I can’t express enough– this has been one of the MOST rewarding experiences of my career. Thank you guys!

Yeah, I’m sure Eliza is BUMMED about the end of Dollhouse. I loved her in the series, I loved seeing her on TV on a weekly basis and I loved that she starred in a Whedon project. I’m not sure if she’ll have the same opportunity again in the future but … well … the whole thing just sucks.

Eliza did tweet while she was at the game last night, showing that she might’ve been having a good time … or at least was being a good sport:

This Boston girl can enjoy a Laker game. Shannon Brown exploded a coupla times- dunked the net OFF. Go Celtics, tho ;)

Eliza rulz … she may be out of work at the moment but she won’t be for long … I’m sure of it.

[Photo credit: Splash News; Source]

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On Monday, I said TV Guide Magazine would run Joss Whedons recent reveals on the remaining Dollhouse episodes next week, but since the not entirely unexpected news broke of the shows cancellation yesterday, I wanted to publish the interview from November 4 as soon as possible. Fox will complete Dollhouses 13 episode season with three weeks of back to back episodes on December 4, 11 and 18, then single episodes on January 8 and 15 before the series finale airs January 22. Here, Whedon shares scoop about this season’s upcoming episodes before he received the news about the shows cancellation.

Are you writing episode 13 to be a finale, just in case? Hedging your bets?
You know what, we hedged the last time and we got renewed, so were definitely hedging them again. People forget but I did this every year with Buffy. Thats just insurance. I didnt do it with Firefly and look what happened. I went mad as a March hare and made a movie. So were doing that this time. Hopefully well have nine more to do it after. We always wrap everything up and then unravel it again, if were told to.

Do you really have hope that you could come back with nine more?
Do I have hope? I do think the December double airings are kind of interesting. Im not planning a trip to Vegas, but I live in hope. I know how the show would go on. Thats the most important thing. I will pitch that to Fox, if they find that the economics are working out for them, they may say keep it going. If they dont, which is likely, theyll say the other thing. But the point is to be ready for both, though there is a sense of resolve at the end of 13.

You have some choice guest stars upcoming. What can you tell us about Summer Glaus character, Bennett, who shows up on December 4?
She works for the Washington D.C. Dollhouse, along with Ray Wises Howard. Shes someone from Carolines (Echos pre-House name) past. Shes got information about Caroline that will really surprise people, especially Echo (Eliza Dushku). And she has a dead arm, so whats not to like. One of her arms doesnt work and its in a sling.

Why?
It just felt right for the character, just like it felt right that she should probably dress like a schoolgirl and be very nice and a little odd. I would call her the Topher of the D.C. House.

But shes actually ethical, unlike the amoral Topher?
Yes, she has morals.

Is Wise basically D.Cs Adelle, the head of the House?
Yes, he would be Adelles counterpart. Hes not so big with the morals. Its a departure for Ray Wise (laughs). Another person in power, Harding, played by Keith Carradine, will be back. What a wonderful actor.

Why do Echo, Adelle (Olivia Williams) and Topher (Fran Kranz) visit the D.C. House?
That involves the D.C. House starting to take action against the Senator, played by Alexis Denisof, whos targeting them. The corporation [Rossum] sees that theres a problem there. Why LA gets involved, I cant tell you.

Mothereffing-Effer!!! Gah … this interview just KILLS me! Hearing from Joss himself how awesome the show will get only to know that it won’t live beyond this half season is … INFURIATING!!! Joss’s chat with TV Guide goes on from here … and it contains a few spoilers about the upcoming new eps that we have yet to see. For those of you who wish to remain spoiled, I put the rest of the spoilery info behind the cut — but you might want to read on to find out what Joss has planned for Alan Tudyk’s Alpha character and Amy Acker’s Dr. Saunders/Whiskey character …

You promised that Alan Tudyk (V) will return as psycho killer Alpha. Does he?
Hes back in a two-parter (Dec. 11) and he comes in with a bang. You dont bring Alpha back unless youve got something really fun for him to do. He has very interesting questions to ask of someone and really appalling ways of asking them.

Thankfully, he sounds as vicious as when we last saw him.
Hes not a Franciscan monk. One of his personalities is a Franciscan friar. But he happens to be a very violent one. I will say he will be dealing not just with Echo but other members of the House as well.

Does Amy Acker return for more episodes? Is she still Saunders?
Amy Acker will return. We have two more episodes that were allowed to use her because of [her new ABC series] Happy Town. She comes back in an interesting fashion that I will in no way describe to you, a little bit later on. Shell be the Doc, Claire Saunders. Where shes been may be a surprise to people.

Is it true were finally seeing the feared Attic where they send the rebellious on December 18?
Were going to finally reveal what its like. I can say without hesitation that it is a joyride, its like going to Disneyland on really bad acid.

Who will we see in the Attic?
Echos not the first person who will have been sent there. Thats all Ill say about that.

Whats happening with Ballard (Tahmoh Penikett), the FBI agent turned Echos handler?
His relationship with Echo will change. His whole life will change more than once. They made an agreement to try and accomplish something and well see that evolve. I know Im being annoyingly coy.

Will they kiss?
Will Echo and Ballard kiss? It would be beyond reprehensible for him ever to kiss her. So, yeah!

You also wanted to bring back Felicia Day from Epitaph One
Shell be in a later episode. I would like to go back to the future, as in Epitaph One. I would love to see what happens to our peeps ten year on.

Where is the Dollhouse storyline heading?
This whole season has been about, and is getting more and more about, the larger conflict, not between Echo and the Dollhouse but between Echo and Rossum. When Echo first decided she wanted to deal with the Dollhouse, she didnt realize how global it was going to be. What were heading for is bigger. Were going to start getting to the top where the real power is and its going to get very, very twisted. Thats not strange coming from me, but even were thrown by it.

FML. I love Dollhouse … I am just so pissed it’s ending in this way. It sounds like there may be some resolution at the end of his half season but only because Joss Whedon was wise enough to plan for the worst. This interview, as cool as it is, only makes the sting of losing the show feel worse. I cannot wait to see the final eps when they air next month … but, again, it just sucks that end had to come so soon :(

[Source]

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Dollhouse is done. We knew this was comingDollhouse creator Joss Whedon recently posted on fansite Whedonesque.com that the writers were “not exactly saving all the good stuff for 14-22,” but still. ‘Tis sad.

Insiders confirm to us that Fox has officially closed the book on the Friday-night sci-fi series. (Series producer and Joss Whedon sister-in-law Maurissa Tancharoen, who also guest stars in an upcoming episode as an active named Kilo, tweeted confirmation as well, saying, “Yes. Cancelled. Sad but true.”)

We’re hearing that episode 13 serves as a season finale “in a significant way and gives Joss enough time to wrap up the stories.”

The show is currently on hiatus for November sweeps (seeing as how its negligible ratings would more than likely drag down Fox’s average), but is set to return beginning Dec. 4 with double-booked Fridays.

So is there any chance the series could go to another network?

Apparently not Syfy. The cabler preemptively warded off any fans hoping for a Syfy rescue attempt with this tweet, “Looks like Fox finally canceled Dollhouse. (No, I don’t think we’ll pick it up.)”

Episodes five though 10 will air in two-episode blocks on Dec. 4, Dec. 11 and Dec. 18, and episodes 11 through 13 will air on Fridays beginning Jan. 8, meaning that the series finale will land on Jan. 22.

Guest stars set to appear in the remaining installments include Buffy/Angel alum Alexis Denisof and Firefly alums Summer Glau and Alan Tudyk.

We’ll miss Enver Gjokaj, Dichen Lachman, Fran Kranz, Tahmoh Penikett and Olivia Williams most of all.

Goodnight, crazy show that had the usual Whedony/Minearean glimmers of genius. Sleep well.

Joss Whedon has spoken. “I feel [Dollhouse] is getting better pretty much every week,” he just wrote to his fans on Whedonesque.com. “And I think you’ll agree in the coming months. I’m grateful that we got to put it on, and then come back and put it on again.” Joss also promised, “By the time the last episode airs, you’ll know what my next project is.”

Source : E!Online

Via: Eliza Dushku Media

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