... in ways that keep making one wonder if they're referencing specific things (known or as-yet-undisclosed). There are a lot of Topher moments we could discuss. Let's look at the confrontation between Topher-the-author and his character Dr. Claire Saunders.
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Claire is the kind of principled, determined, competent, damaged woman that Whedon famously (and problematically) loves to write. And when she finally discovers that Topher is her author, and confronts him, she makes it very clear what she thinks of him:
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"...why did you decide it was so important for me to hate you? I think that's strange." And a couple episodes later, we get his answer:
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Topher: You don't know me and I don't know you. Not fully, not ever. I made you question. I made you fight for your beliefs. I didn't make you hate me. You chose to. Claire: How do I live? How do I go through my day knowing everything I think comes from something I can't abide?
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I don't know if Topher is a manifestation of some conscious or unconscious self-loathing on Whedon's part. I don't know if Topher's worst moments reflect specific points in Whedon's history of terribleness...
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...and I don't know if his best moments represent Whedon trying to imagine a redeemable version of himself. But it's hard not to wonder. And it's hard not to read Topher as a warning: "The heroes I've written into existence would be very, very disappointed in me." Fin.
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Replying to @dr_i_rohl
Hey remember the big spoiler at the end of the show (Does anyone still care about spoilers for this show) That Boyd Langton, the most noble character on the Dollhouse staff, Echo's stalwart protector and champion, is just a front identity for the CEO of Rossum
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Replying to @arthur_affect @dr_i_rohl
He arranged for all of her suffering, he authored this whole scenario, he pulled all the strings all along as some perverted way to push her to realize her true potential, to make a great work of art He's the ultimate Dollhouse client, the worst one
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Replying to @arthur_affect @dr_i_rohl
Ok so Dollhouse, Epitaph Two: Return (S2E13), penultimate scene, Metaphor-Free Edition: JOSS WHEDON rolls back from the desk of a dusty, disused office somewhere in Los Angeles -- once a respectable penthouse suite meant for a studio head and executive producer
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Replying to @arthur_affect @dr_i_rohl
He has just finished assembling his SUPERWEAPON A combined resignation letter and detailed confession, entitled "The Big Bad Reveal" Once he pushes the button the warhead will propagate its signal, slowly but inexorably, across first LA and then the entire world
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And in so doing it will wipe away everything he has built, for good or for ill Erased, wiped clean as though it had never been, damnatio memoriae Fragments might survive, hidden here and there as scraps, but the huge edifice of the Dollhouse will be over once and for all
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Replying to @arthur_affect @dr_i_rohl
It was beautiful, once, on the surface at least And everyone believed it had the potential to do great good, help fix the world, or at least they said so when they were showering him with money and praise But in hindsight it was inevitable it would become what it did
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Replying to @arthur_affect @dr_i_rohl
So it has to end The false personae, the manipulated facts, the confected memories, all of it, until all that's left is the truth, warts and all, and whatever world can be built upon that scoured foundation And he will not survive to see it
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