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Also on Motherboard: Cloning a Mammoth Is Only the Start
Alison at first seems like the perfect-mother archetype‚ complete with minivan, scheduled activities for the kids, and scrunchy hair ties. But over the course of the meandering plot, it becomes clear that she's got other interests. After she and Donnie bury a dead body in the second season, she's turned on, telling him (in the same clipped, soccer-mom voice) that she wants it nasty, bent over the sink where they just cleaned up the blood. And she almost radiates excitement as her drug-dealing business becomes more successful, doing a bump-and-grind with Donnie on their bed amidst all the money—a lighter take on Walter White's insight that it feels good to be bad. The violent world of spies and sudden, brutal endings frightens Alison, but is also thrilling to her as an escape from the dreary humdrum soap opera of suburbia. In that sense, we can see Orphan Black as a rejection of domesticity and its tedious emotional and physical work. As more and more women are moving out of the home, Orphan Black sets up a soap opera dynamic to celebrate leaving it behind.Still, Orphan Black is too committed to its soap opera tropes to simply toss them aside. Rather than replacing soap opera with espionage or cop shows, the series instead works to turn all those other genres into soap opera. The world of violent endings and focused missions is domesticated. The virtues and trials of motherhood—empathy, multiple focus, diffuse goals—in Orphan Black spread out of the domestic sphere, and into the whole world.
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