The Canadian television series Orphan Black begs the question, what if the future really is now? Its central protagonist is Sarah Manning, a British ex-pat, orphan, and grifter whose life changes forever when she sees a woman commit suicide in the subway. The catch? The woman turns out to be Beth Childs, a New York City police detective who looks exactly like Sarah. Given their shared appearance, Sarah decides to assume Beth’s identity and discovers in the process that Beth is not a long lost sister or cousin but that Beth and Sarah are two of several clones. A group of them is only just discovering this truth about themselves, or to use the parlance of the scientists who created them, becoming “self-aware.” The plot thickens as Sarah learns that Beth is under review by her department for shooting a civilian and someone is systematically murdering the clones. In short, Sarah’s life gets very, very complicated very, very quickly.
In many ways, Orphan Black seems like a classic science fiction plot—science is run amok, humans pay the consequences. But wrapped inside this broad perspective is a representation of patriarchy’s effects on women’s lives. Despite their shared genetics, Orphan Black emphasizes the personality differences between the clones, from uptight soccer mom Alison, to brilliant scientist Cosima, to mad, traumatized Helena. (I should note here the mesmerizing performance of Tatiana Maslany, who plays all the clones; she makes you believe each one is a distinct person.) Despite the characters’s individuality, they find themselves equally subject to exterior forces that deem them less than human and therefore able to be owned, manipulated, and objectified.
Two social institutions vie for control of the clones: corporate science and religion. Specifically, the Dyad institute, who took over the clone research and monitors the women in secret, and the Proletheans, a zealot sect that believes the clones flout God’s creative power. For both of these organizations, the clones exist to be controlled and forced to adhere to each group’s worldview. But by emphasizing the humanity and individuality of these women, Orphan Black makes viewers emotionally reject this premise, siding with the clones over the forces that seek to control them. Thus Orphan Black sets up Dyad and the Proletheans as metaphorical stand-ins for the patriarchy, blindly pursuing its own power at the expense of women’s independence and self-actualization.