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Federal government websites often end in. The site is secure. Preview improvements coming to the PMC website in October Learn More or Try it out now. The acclaimed Canadian television series Orphan Black — poses a question straight out of the pages of science fiction: What would it be like to encounter multiple versions of yourself in the form of clones that you never knew you had?
But equally plausible in social terms are the bonds that begin to develop among the beleaguered figures, who are initially being hunted down by one of their own and later learn that they are under constant surveillance by an unethical corporation that is using them as experimental research subjects. This article explores the relationship between the alternative kinship networks in Orphan Black and these two real-world phenomena, concentrating on the privacy issues emerging almost weekly in news and other media accounts of individuals discovering new — often unexpected — kin.
Orphan Black is unprecedented in setting both of these alternative family structures in dialogue with one another. The series features a range of same-gender sexual relationships, prominent in several storylines, as well as surrogate, adoptive, and voluntary families that cross national, linguistic, educational, generational, class, and lifestyle boundaries. Together, these alternative family structures create novel social arrangements that challenge normative assumptions in multiple domains.
Although the clones are genetically identical, they have each been brought up in different environments, and they manifest an array of personality traits and identities: a punk rock con artist named Sarah, who has sex with whomever she pleases and does not feel the need to categorize herself; a lesbian dread-headed graduate student studying evolutionary biology named Cosima; a quirky housewife and soccer mom, Alison, whose marriage reverses stereotypical gender roles by making her the head of household and having her husband take her last name; a trained killer, Helena, who is asexual for the majority of her life after a voyeuristic but traumatic encounter with a masturbating nun; a sadistic CEO named Rachel, who enjoys acting as a dominatrix when she is not running the Dyad Institute; a ditsy nail artist, Krystal, whose sexuality is unspecified but who performs a campy cisgender role; and a criminal trans man named Tony, who has sex with the adopted brother of one of his clones.
