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    Orphan Black and the Heroine’s Journey
    Orphan Black and the Heroine’s Journey
    Orphan Black and the Heroine’s Journey
    Ebook311 pages4 hours

    Orphan Black and the Heroine’s Journey

    By Valerie Estelle Frankel

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    On the heroine’s journey, the young woman quests for autonomy, with adversaries who reflect her shadow side. They polarize with her, evoking different aspects of the personality. Wrestling with these figures and achieving a rapprochement, the heroine discovers all the untapped potential and hidden strength that lies within. BBC’s Orphan Black follows this perfectly. Sarah Manning discovers she’s a clone when she meets her identical copy, Beth, and sees her commit suicide. Through the first season, Sarah plays Beth, learning discipline and responsibility. All this gives her the strength to grapple with her wild sister Helena and evil sister Rachel as she battles the patriarchy in an ancient feminist clash. This book analyzes the symbols and inner life of the five main characters’ journeys, along with some of the lesser Ledas, as all seek the power of a united sisterhood.

    LanguageEnglish
    PublisherValerie Estelle Frankel
    Release dateAug 12, 2017
    ISBN9781370516117
    Orphan Black and the Heroine’s Journey
    Author

    Valerie Estelle Frankel

    Valerie Estelle Frankel has won a Dream Realm Award, an Indie Excellence Award, and a USA Book News National Best Book Award for her Henry Potty parodies. She's the author of 75 books on pop culture, including Doctor Who - The What, Where, and How, History, Sherlock: Every Canon Reference You May Have Missed in BBC's Series 1-3, Homages and the Highlands: An Outlander Guide, and How Game of Thrones Will End. Many of her books focus on women's roles in fiction, from her heroine's journey guides From Girl to Goddess and Buffy and the Heroine's Journey to books like Women in Game of Thrones and The Many Faces of Katniss Everdeen. Once a lecturer at San Jose State University, she's a frequent speaker at conferences. Come explore her research at www.vefrankel.com.

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      Book preview

      Orphan Black and the Heroine’s Journey - Valerie Estelle Frankel

      Orphan Black

      and the

      Heroine’s Journey

      Symbols, Depth Psychology, and the Feminist Epic

      Valerie Estelle Frankel

      Other Works by Valerie Estelle Frankel

      Henry Potty and the Pet Rock: A Harry Potter Parody

      Henry Potty and the Deathly Paper Shortage: A Harry Potter Parody

      Buffy and the Heroine’s Journey

      From Girl to Goddess: The Heroine’s Journey in Myth and Legend

      Katniss the Cattail: The Unauthorized Guide to Name and Symbols

      The Many Faces of Katniss Everdeen: The Heroine of The Hunger Games

      Harry Potter, Still Recruiting: A Look at Harry Potter Fandom

      Teaching with Harry Potter

      An Unexpected Parody: The Spoof of The Hobbit Movie

      Teaching with Harry Potter

      Myths and Motifs in The Mortal Instruments

      Winning the Game of Thrones: The Host of Characters & their Agendas

      Winter is Coming: Symbols, Portents, and Hidden Meanings in A Game of Thrones

      Bloodsuckers on the Bayou: The Myths, Symbols, and Tales Behind HBO’s True Blood

      The Girl’s Guide to the Heroine’s Journey

      Choosing to be Insurgent or Allegiant: Symbols, Themes & Analysis of the Divergent Trilogy

      Doctor Who and the Hero’s Journey: The Doctor and Companions as Chosen Ones

      Doctor Who: The What Where and How

      Sherlock: Every Canon Reference You May Have Missed in BBC’s Series

      Symbols in Game of Thrones

      How Game of Thrones Will End

      Joss Whedon’s Names

      Pop Culture in the Whedonverse

      Women in Game of Thrones: Power, Conformity, and Resistance

      History, Homages and the Highlands: An Outlander Guide

      The Catch-Up Guide to Doctor Who

      Remember All Their Faces: A Deeper Look at Character, Gender and the Prison World of Orange Is The New Black

      Everything I Learned in Life I Know from Joss Whedon

      Empowered: The Symbolism, Feminism, & Superheroism of Wonder Woman

      The Avengers Face their Dark Sides

      The Comics of Joss Whedon: Critical Essays

      Mythology in Game of Thrones

      A Rey of Hope: Feminism & Symbolism in The Force Awakens

      Who Tells Your Story: History & Pop Culture in Hamilton

      This book is an unauthorized analysis and commentary on Orphan Black and its associated products. None of the individuals or companies associated with the television show, comics, or any merchandise based on this series has in any way sponsored, approved, endorsed, or authorized this book.

      Orphan Black and the Heroine’s Journey

      By Valerie Estelle Frankel

      Copyright © 2017 Valerie Estelle Frankel

      Smashwords Edition

      All rights reserved.

      LitCrit Press

      Contents

      Introduction

      Sarah

      Beth

      Helena

      Alison

      Krystal

      Cosima

      Veera

      Rachel

      Episodes

      Works Cited

      Introduction

      One can watch the five-season epic of Orphan Black as a single heroine questing towards enlightenment, with different aspects of the same woman representing the inner voices of rationality, rebellion, ferocity, cold anger, and propriety. Smaller, quieter voices offer Beth’s paranoia, Tony’s snarky defiance, M.K.’s terror, and Krystal’s lightness. Of course, Sarah is the willpower, the directed self. Her brother Felix calls her the glue that’s holding us all together in The Antisocialism of Sex (407).

      As a heroine’s journey text, Orphan Black is fascinating. Rarely in fiction do five women all quest (with a few more like Beth, Krystal, and Veera going on abortive, simplified journeys). Arguably each has nearly a fair share of the story arc, casting them all as the story’s central heroes. Far from static sidekicks, all grow and change. Moreover, their journeys often reflect, as Sarah and Helena each must accept the other in season one and return together from the symbolic underworld in season five. The heroines are not only questing for freedom, but for unity, binding together ever tighter in their Clone Club.

      The heroine’s journey, like the hero’s journey popularized by Joseph Campbell, involves the central character metaphorically growing from child to adult by journeying into the underworld and facing dark forces that represent the tyrannical father and/or murderous mother – both inversions of the potential good parents the hero might become, after he or she has learned from these voices of the dark side. In fact, the shadow, as Jung calls the dark side of the self, is all the undesirable impulses one has repressed – greed, cruelty, anger. This side of the self reveals qualities the hero can see in other people but not in himself – such things as egotism, mental laziness, and sloppiness; unreal fantasies, schemes, and plots; carelessness and cowardice; inordinate love of money and possessions – in short all the little sins about which he might have previously ignored in himself, explains Jungian analyst Marie Louise Von Franz (Individuation 174).

      Still, the shadow side offers a surprising strength. Most often the fictional questor is the sweet, inexperienced adolescent – Dorothy Gale or Harry Potter – discovering the rage and power of the evil tyrant. However, other questors discover other lost parts of the self – the innocent they’ve long left behind or the sexual woman they’ve always repressed. Thus, the women of the series all undergo this journey as the story focuses on their meeting these lost shadow twins as much as it does on their struggle for autonomy.

      The shadow need not be evil but simply polarized, as professional Beth and heedless Sarah have chosen contrasting paths. In fact, all of the clones are opposites, representing the different sides of the personality. Each time Sarah masquerades as Beth, she tries on her personality and borrows abilities she’s never discovered in herself. As all the clones use this power, and also tangle with wicked matriarchs and patriarchs, they discover their own potential. The hero’s journey is about facing one’s shadow – all one could have become but chose not to – and discovering one’s hidden abilities. A woman’s psychological development requires integration of many facets of her self in order for her to become a whole and healthy human being. When a woman is limited to only one or two roles, she can feel or act mad because the unactualized parts of herself are struggling to express themselves, explains Linda Schierse Leonard in Meeting the Madwoman: Empowering the Feminine Spirit (4). This is the struggle all people face, embodied so directly through the many faces of Tatiana Maslany, the actress who plays them all.

      This moment of learning proves true for the actress as well. There’s a large part of me in each of them. And a large part of myself is revealed in each of these characters, she says (Send in the Clones). Through the series, the women all take each other’s places, walking a mile in each other’s shoes and discovering what it would be like to be so different. Maslany says of switching, They’re playing, they’re struggling, they’re trying something on – they’re not embodying themselves, they’re putting on an act and they feel exposed and they feel that they’re screwing up and like they’re going to be caught out and they’re going to be seen as a fraud and that’s everything I feel when I’m doing those scenes. And it is technically so confusing, but that’s what is so fun about those scenes (Berstein 93).

      Sarah, questing for her child as the epic heroine often does, learns love from Helena, domesticity from Alison, discipline from Beth. Cosima, who’s dying from the illness they share, impresses responsibility on her. However, Sarah can only defeat the brutal corporations by playing Rachel, the dark insider clone who knows all their secrets and is willing to play dirty. Rachel, by contrast, spends five seasons setting herself above her sisters and ignoring their pleas to protect and join them. She does not step into their shoes, but by observing their love, finally chooses their side. In the same way, Sarah’s accepting Helena helps the madwoman emerge from religious conditioning. After, Helena becomes pregnant and quests to be a mother, but first she must defeat the shadow figure Virginia Coady, murderer of her own children, to absorb her terrible strength. At the same time, Alison grows from a place of denial and repression to a free spirit, finally comfortable with who she is. While Cosima is the best adjusted, contrasting lover-inspiratrices Delphine and Shay guide her down different paths before she faces her creators and decides who to become. This book explores all their classic heroine’s journeys – hearing a call to heroism, working with comforting friends and enlightening lovers, borrowing the powers of their sisters, and finally defying the tyrants to claim freedom.

      Sarah

      Threshold

      I will start with the thread of my sestra Sarah, who stepped off a train one day and met herself.

      Sarah Manning has the most traditional pattern, beginning as a poor little orphaned foster wretch as Felix calls her in episode one, who’s completely unaware of her magical birth and glorious destiny. The show’s creators John Fawcett and Graeme Manson saw her as the central figure from the start. Manson says of Sarah, We always knew that she was the outside, the black sheep, that she would be the one who’s different from the others somehow (Berstein 35).

      This is the story of the superheroine, the epic young woman born with a magical power others lack (in this case an unusual fertility that will ultimately save them all from death). She’s Harry Potter, who not only was born a wizard but destroyed the Dark Lord at age two and remains marked with divine powers, signaling his ability to fight evil. Sarah’s power is internal – the ability to bear children even despite her creators’ deadly curse, and the power to defy the illness killing her sisters.

      Most fairytale children grow up with evil stepfamilies or foster-parents bewildered by their adolescent desires. This will soften the wrench of leaving home. In his signature studies, Freud notes that this is a common children’s fantasy: After the parents somehow disappoint or dissatisfy the child, he dreams that he is adopted, the child of distant royalty. (Frankel, From Girl to Goddess 18)

      Sarah in fact is a magical child, with an awesome destiny from the moment of conception. Her other superpower of course is the biology of having a child. In By Means Which Have Never Yet Been Tried (210), Cosima tells her, You’re the wild type, Sarah. You propagate against all odds. You know, you’re restless. You survive. Nature is her ally as she quests for her child.

      In the first stage of this kind of adventure, the hero leaves the realm of the familiar, over which he has some measure of control, and comes to a threshold (Campbell 146). Sarah begins the first episode awakening on a train, symbolizing the awakening about her life that’s coming. In fiction, A stranger rides into town is a classic plot, bringing change by shaking up the dynamic. As it turns out, she’s been gone for eight months, and now she wants her child returned. She had Kira when she was only twenty-one, and likely felt terribly unprepared. The woman who gives birth when she has not yet grown up may fall asleep from the shock and find herself in a dream world in which she is forever a teenager, disconcerted to hear herself called ‘Mother’, explains fairytale scholar Joan Gould (120). Sarah didn’t sleep but fled; however, her disassociation is clear. Though she dreams of life with her daughter, she has no idea who the girl is anymore. Her actress says, Every part of her being wants to be that mother, for Kira. But no part of her knows how to do it (Send in the Clones). She’s not only on a quest to reclaim her child but to understand her value, as her foster mother S. wishes she would, and to connect with them both.

      Sarah confesses later to Felix, she wants him to steal a bag of cocaine she’s pilfered and, as she puts it, I’m back on the run, the usual Sarah shite storm. She’s left her boyfriend Vic the Dick after hitting him first. On her arrival, she calls Mrs. S., who refuses to let her see Kira. Furious, Sarah slams the receiver down with a muttered bitch! when S. hangs up on her. Clearly, her life is a financial and relationship shambles. She’s thus prepared for her journey to begin. Fawcett says, She’s a character who has made a lot of wrong choices and is now trying to set things straight, make amends, and trying to be a better mother to her daughter. Manson adds, Over the course of the first season, I think she grows up quite a lot (Send in the Clones).

      As Sarah walks away, she sees a distressed woman in a business suit. The woman piles up her belongings, and when she turns, Sarah spies a face that’s a copy of her own. Before they can speak, however, the other woman jumps in front of a train.

      Manson calls Beth Childs A tortured yet brave cop and the inciting incident of the entire series (Send in the Clones). Sarah watches Beth take a few steps to her death, and it all begins for her. Identity is thrown open; so many questions are posed to her narrative. The appearance of her world has shifted and will continue to shift (Heuslein 83). Each clone she meets who dies is like losing a part of herself and supplies her with deeper knowledge about mortality. Through it all, she deepens, understanding the others more as she understands herself.

      Sarah is named for the Biblical heroine, whose biology (or God’s blessing) was so strong that she had a child at age ninety. Her last name suggests toughness and manning up, straddling gender conventions to be the hero. Some of the earliest-introduced clones, Alison, Beth, and Cosima, suggest an ABC pattern, regulating and dehumanizing them. In this list, Sarah is the misfit, though she takes Beth’s identity and blends in.

      Beth, a single strong, one-syllable name, seems right for a cop. It’s short for Elizabeth, the name of powerful ruling queens (she also shares name roots with Buffy the Vampire Slayer). As Sarah takes Beth’s identity, she grows into this heroic archetype, learning to be a cop and protect her loved ones. Elizabeth means Pledged to God, and Sarah/Beth is the story’s Chosen One, battling forces of evil to save her daughter. Further, by taking her identity Sarah is subverting this – choosing to be chosen instead of letting destiny do it. Beth’s last name, Childs, suggests an inability to cope and yet an innocent perspective on the world – all a shadow for the tough, suspicious Sarah Manning.

      Traditionally, the heroine’s journey is a call to rescue someone in danger – a sister or lover or child. All these will come through the first season, but for Sarah the first quest is to rescue herself – to seize a better life by claiming Beth’s. In the process, she discovers all the hidden potential within herself, who she could become with different opportunities. This is the power of the identical self who went a different way – in Jungian terms, the shadow.

      One’s shadow is all the qualities he or she has rejected: Luke Skywalker chooses the light side of the force, and Darth Vader the dark. Closer yet are Harry and Voldemort, both half-wizard orphans with similar gifts who choose opposite paths. While Voldemort chooses sycophants and domination, Harry makes true friends and pursues the path of love – all the while aware that different choices would have made him great. He’s drawn to battle Voldemort, because when he does, he battles the evil impulse within himself and emerges stronger.

      Jung writes: The shadow personifies everything that the subject refuses to acknowledge about himself and yet is always thrusting itself upon him directly or indirectly—for instance, inferior traits of character and other incompatible tendencies (CW 9, pp. 285).

      Taking Beth’s ID, Sarah thinks in the comic, A fresh start. Didn’t appreciate it when I was a kid. But right now? Nothing in the whole damn world sounds better (The Clone Club #1: Sarah). Gould notes that changing clothes in a fairytale signals a change of state, as if she were continually changing one skin for another (44). Changing faces does the same, but more dramatically.

      Archetypes scholar Carol Pearson contrasts the Innocent and the Orphan. While the Innocent believes people are essentially kind, and tries desperately to be perfect and lovable, the Orphan operates from a more traumatized and cynical place. At some point, Orphans give up on failed authorities and take control of their own lives, and when they do, they become Rebels (85). This rebel figure works for justice and claims solidarity with all other oppressed, wounded, or suffering people (Pearson 85).

      Witnessing the death of this copy of herself stuns Sarah. The moment calls on her to take stock of her choices and priorities – leaving Kira, ignoring the effect her walking out has had on her mother as well as her daughter. It also provides her a literal opportunity to reinvent herself.

      This fresh start is like a wish come true. Sarah takes the other woman’s purse and explores her house. On finding a paradise of expensive furniture, elegant clothes, and a fat bank account, Sarah claims this life for herself. It’s a shadow moment, discovering who she could have been with different choices, then trying out this lifestyle by walking in her double’s shoes. While Sarah is an outsider, from London, Beth is from East York, part of Toronto. To Sarah, Beth offers the perks of wealth and education, the warmth of a loving boyfriend, and the discipline of a cop – all things she’s never had, which as she samples them, evoke love, responsibility, and duty in herself. In her flat, Sarah is caught by the snapshots of the happy couple, with her lookalike snuggled up with an amazingly attractive man. With this, Sarah calls her, A girl with a pretty nice life.

      Same-sex siblings tend to be both Shadow and ideal self for each other. As Jungian analyst Christine Downing puts it, "She is both what I would most aspire to be but feel I never can be and what I am most proud not to be but fearful of becoming (Sisters and Brothers" 111). All this is very true of Sarah and Beth, the first sister pairing of the show, and will follow for the other clones as well.

      Sarah can no longer insist she isn’t capable of this kind of growth, so, having tried it, she continues to nurture these qualities within. However, with them come the threat of Beth’s addiction and despair, leading to suicide because she apparently couldn’t handle the persecution. These too are a mantle Sarah must inherit as she battles them. One of the central mysteries is what caused her death. Manson says of Sarah, She’s investigating herself in a way, trying to find out what led to her suicide (Send in the Clones). By doing so, Sarah addresses whether she might ever do the same.

      For the individual, one of the major tasks in the process of psychological development is to recognize, acknowledge, and accept those rejected aspects of the self (the shadow). The process of integration through acknowledging and accepting the shadow aspects of our personalities gives us depth and access to a greater range of expression. Oftentimes the shadow will hold hitherto unknown powers and capabilities. (Von Franz, Individuation 170-171)

      For instance, Beth was the force of responsibility, caring for the entire city and managing the clone conspiracy besides. Sarah, the poster child for neglecting responsibility, can learn much by walking in her shoes. Felix calls to warn her Vic wants his coke back and won’t stop, but Sarah insists Felix keep stalling him, as she fails to own her mistakes. She goes further and fakes her death as Sarah, while studying to become Beth – her accent, mannerisms, habits. In a montage to Bad Girls by M.I.A, she watches numerous videos of Beth flirting with her boyfriend, training for marathons. She practices her lookalike’s signature and dyes her hair to match. Playing at Beth melds into becoming Beth – as parts of Beth Childs’ life surface, Sarah gains a deep sense of respect for this woman so like and unlike herself, even as she must solve Beth’s problems as well as her own.

      Using her go-to moves as Sarah, she scams the bank manager into helping clear out Beth’s account and starts ducking Beth’s responsibilities, not just her own. Her partner Art texts, Have arrived. Must see you. Where are you? Still waiting.

      Yeah, good luck with that, she mutters, tossing the phone aside. However, he tracks her down in a cop car and hauls her away, unwilling to be put on hold forever. As it turns out, there’s an inquiry waiting about Beth’s shooting a civilian, Maggie Chen. Sarah postpones the inquiry by vomiting and then by begging her psychiatrist for leave, but it won’t wait forever. Her psychiatrist tells her, Getting back on the job for you is about moving forward from a moment you can never take back. While Sarah didn’t actually shoot the civilian, she needs to reclaim her family life after abandoning them. However, she ignores the advice.

      After, Sarah gets 12 unread texts for Beth. Where are you? What happened? Back at hotel, call. Still waiting. Once more, she tries ignoring them all.

      In Beth’s flat with Felix, she feels a closeness to her dead twin. Felix recalls Beth’s shooting. So, your twin, all hopped up on cop tranquillizers, guns down an innocent Chinese lady holding a cell phone in her hand. Is that true?

      Sarah adds that she doubts the story. Feels like she’s lying about something. Clearly, it takes a grifter to know a grifter.

      Meanwhile, Felix is stuck on Beth’s identical likeness to Sarah. You’re related! This could be your story! The phrasing emphasizes how Sarah is stuck in Beth’s pattern and must struggle a great deal to break free. This foreshadows much for the coming season. Every foster kid dreams of their lost family, Felix reminds her. Deep down, we all think we’re special.

      Sarah retorts, Yeah, the last thing I am is special. Of course, with her biology, she actually is. This conversation is central to the heroine’s journey, emphasizing her destiny.

      Meanwhile, Beth’s relationship with Paul Dierden was more problematic than it appeared to outsiders, as Sarah discovers. In fact, sterility can symbolize an undeveloped or immature relationship. For it is when women and men in relationship, and feminine and masculine in the individual psyche, can bless each other and affirm each other that they effect the cross-fertilization necessary for a viral creativity and a fruitful culture, explains Gertrud Mueller Nelson in Here All Dwell Free: Stories to Heal the Wounded Feminine (193). To avoid a conversation, Sarah aggressively seduces Paul when he returns unexpectedly. After, she must deal with her feelings over sleeping with her dead twin’s boyfriend.

      Like Art, the clone Katja refuses to let Sarah avoid her and she dives into her backseat. There, she demands Sarah accept the briefcase of medical samples and take her to her scientist friend. You are police, Beth. We need you, Katja insists. Sarah refuses this terrifying summons from this copy of herself – the first she’s spoken with. Clearly, the moment is terrifying her, the moreso as Katja is coughing blood. Ironically, her name, likely short for Katherine, means pure, though she’s dying from damaged lungs.

      Katja gives Sarah a threshold test, meant to challenge the hero from crossing over from the ordinary world to the magical one, with Just one. I’m a few. No family too. Who am I? a riddle Sarah fails. Gazing at her with the penetrating insight of the shadow, Katja realizes (unlike Art or Paul) that Sarah isn’t who she pretends to be. Before Sarah can deny this, a gunshot slams through the windshield and into Katja’s head. Horror-struck, Sarah speeds away. Once again, running won’t save her. When Katja’s pink phone and her own identical

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