In the Whedonverse, it's not unusual for viewers to expect one thing when they'll end up getting something else entirely. In Buffy the Vampire Slayer, Firefly, and Dollhouse, Joss Whedon plays with genre and character in strikingly original ways that expose the nuances of what we think we want from our entertainment and what we actually want.

ORPHAN BLACK: In a world wracked with constant change, humanity is battered again and again with the question: who are we? What does it mean to be human, and more specifically, what does it mean to be me? Orphan Black takes on these highly subjective, postmodern questions with the intellect of a science fiction show, and the nuance of a literary work.

CATCH OF THE DAY: While it was obvious that we didn't see much of Kira in Orphan Black's Season 2 premiere, you might not have noticed that it was Kira who bookended the episode, making for a very ominous start to the season.

CATCH OF THE DAY: Marshmallows (specifically the respective sub-division of Veronica/Logan shippers), today is your day to feel the feels. Since we have all recently undergone an intense 64 episode re-watch in preparation for the Veronica Mars movie, it's no surprise we've found some parallels within the series that will only amplify your love for "LoVe."

ORPHAN BLACK: The theme of identity is inherent to Orphan Black. In a show where a multitude of identical characters seem to materialize around every corner, it’s bound to be. As we follow our leading lady, Sarah Manning, through her journey of self-discovery, however, we also witness the confrontation and fracture of this identity. But, the plot isn’t the only thing that emphasizes this reflection and fragmentation of self that Sarah encounters; it’s also underlined quite clearly in the show’s use of mirrors and cinematography.