Does 'Dollhouse' finally deliver?

After struggling through a highly inconsistent first season that was fraught with network interference and plummeting ratings, Dollhouse is back on the UK's Sci Fi Channel for its second outing. The promise of Joss Whedon's undiluted vision sounds like a mouthwatering prospect for those reared on the glory days of Buffy, yet the season premiere lacks cohesion and falls short of heralding a vastly improved new era for the show despite several highly effective scenes.

The episode features arguably the most engaging imprint of Echo to date, as at first we're led to believe she's been hired out as a bride before her true mission to thwart an arms dealer (BSG's Jamie Bamber) becomes clear. Boyd aptly sums up the engagement by saying, "this one's sick". Despite the celebratory nature of their wedding, a sinister undertone prevails as we know it's all a fake and can't help but feel sorry for poor Echo, along with the pining Paul - who has to listen in on his object of lust getting jiggy with her new hubbie. Bamber excels in the bad guy role, with his sudden physical attack on Echo packing a powerful dramatic punch and also cleverly causing Echo's shaken brain to drag up memories of past imprints.

Frustratingly though, the attention frequently shifts away from this plot thread. Lengthy trips back to the Dollhouse deprive the episode of a sustained focus and excitement, especially when we're in the company of the tedious Adelle. An emotional bedroom scene between Topher and Dr Saunders deals with some fascinating ideas and highlights Amy Acker's excellence in her role as the perturbed Doll, although it slows down the pace and takes away momentum from the fast-moving Echo-based narrative. In isolation though, it's rather superb.

A crowd-pleasing climax, complete with Echo digging her freshly manicured nails into a car bonnet, rounds events off in a suitably grandiose style for a season premiere. Plenty of Whedon-esque humour ensures a smile is never too far away, with Topher's rodent encounter and Sierra's Oriental-loathing, spank-loving imprint being notable highlights.

Not quite the sum of its parts, Dollhouse nonetheless feels more comfortable with its own identity than last year and Echo is significantly coming across as a more sympathetic, conflicted character rather than a mere blank canvas. Hopefully this improvement and confidence will grow over the following episodes.

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