Dollhouse

In “Omega,” the twelfth episode of the first season of Dollhouse, Alpha explained to Caroline: “that’s just a body—they’re all pretty much the same.” Through the course of Dollhouse’s two seasons, it was difficult to determine whether Alpha was right or wrong. On one hand, what the show seemed to suggest, in a plethora of various contexts, is that there was some bodily essence that constantly asserted and re-asserted itself, even in spite of imprinting and global wipes. We saw this, e.g., in Victor and Sierra’s impregnable bond, and in Echo’s somatic reactions to Ballard and Boyd (neatly illustrated in “Briar Rose,” 1-11). The body seemed to retain a certain sort of primacy over the mind or the spirit. On the other hand, through the course of two seasons, we saw precisely how disposable bodies were. They were often cast away or worn like new suits: from Enver Gjokaj’s brilliant doubling of Topher as Victor to Echo’s being imprinted with Margaret Bashwood in “Haunted” (1-10) to Harding’s expendable bodies in “Epitaph Two: Return” (2-13). The crucial component seemed to be the wedge and the information it contained.

Here, we seem to have one of Dollhouse’s many aporias— entirely insoluble standstills or moments of contradiction. Aporias, according to Plato, often serve the function of bringing us to (...)

Click on the link for more :

http://www.smartpopbooks.com/what-it-means-to-mourn/