...still on TV (man, this is liberating!)
1. There's absolutely no decrease in quality between Seasons 1 and 2 of Heroes. They're both appalling.
2. The Battlestar Galactica reboot miniseries and first half of Season 1 are excellent and then after that, with the exception of a couple of upward ticks, it's straight downhill into a Speed Racer car-crash of undergraduate cod-philosophizing, badly-written relationship problems that we don't give a toss about (because of what the writers decided to do at the end of Season 2), and general half-assedness in virtually every respect (the near-constant use of the "24 hours earlier" structure, the few interesting side characters are squandered by clichéd resolutions to their arcs, nothing anyone says or does during the trial of Baltar makes any sense at all, etc. etc. etc.)
3. Dollhouse is a terrific show whose critical reappraisal is already overdue. Just about the only major gripe that's out there that I'll accept is that Season 2 is kind of rushed, and the time spent on various people/arcs doesn't feel quite allocated correctly. (Too much at the beginning of the season, not enough at the end.)
I think the "Doll of the Week" stuff at the beginning of Season 1 works, because it allows you to get comfortable with the universe, and parcels out bits of information (including hints of the gradual "awakening" of Echo) that then start coming together as the season progresses. People who say that Eliza Dushku is weak or that early on you can't establish a rapport with the main character because she's changing personalities are missing the point. It's more at the early stage of having a rapport with or empathy for the situation, for precisely that reason, and I think Eliza Dushku actually does a really good job with the little moments that she has to work with.
I'm thinking of like that bit in one of the first episodes where she's coming back from a "romantic engagement" and talking about it with her handler -- how she normally doesn't go for XYZ type of guy (I think she says he's fat), but this guy was really sweet and she really likes him and wants to tell him how she feels, but she's nervous, etc. On the one hand, of course she's been 'programmed' to feel that way, but Eliza Dushku does a really good job of making it feel real. And so, when you hear the line "Are you ready for your treatment", it's kind of sad in a Roy Batty "all these moments will be lost in time" sort of way. It doesn't matter that on one level it was 'engineered'. It's a happy moment in her life and it's going to be taken away from her.
The rest of the acting is uniformly excellent, the twists and turns are generally great, and it actually makes an effort to be about something. If this were shot in black-and-white, and in French, and shown in art-house theaters in the mid 1960's, people would be all over it.
For the next hour, everything in this post is strictly based on the available facts.