One way to discuss personal identity is by distinguishing between specific and numerical types of similar things. Some of the ways in which the individuality of each clone comes out are found in the alterations they make to their alphanumeric designations, uniforms, and living environments. In his important article “Freedom of the Will and the Concept of a Person,” Harry G. Frankfurt explains that what makes humans unique according to his concept of personhood is their “capacity for reflective self‐evaluation.” The (...) activation of the Fett clones' inhibitor chips with Order 66 represents the intention of the Empire to deprive all the chipped clones of their freedom of action and will. As Frankfurt states, “Suppose, however, that he enjoys both freedom of action and freedom of the will. Then he is not only free to do what he wants to do; he is also free to want what he wants to want.”. (shrink)

Zachariah's description of a wonderful fornicating life for Sam and Dean captures some truth but it also misses the importance women play in shaping the Winchesters' moral decisions. In general, important women in the lives of Sam and Dean fall into three broad categories: mothers, lovers, and monsters. Sam and Dean are all too familiar with this philosophy of utilitarianism. Many times they have sacrificed relationships with women for the sake of their mission. Throughout Supernatural the objectification of the Winchesters (...) is contrasted with a happy domestic life. Sam and Dean are mistaken in thinking that their only value resides in the roles they play in the larger battles of good and evil; if they looked deeper they would see that they both would prefer a loving relationship with a woman. (shrink)

American auteur Jeffrey Jacob "J. J." Abrams's genius for creating densely plotted scripts has won him broad commercial and critical success in TV shows such as Felicity, Emmy-nominated Alias, Emmy and Golden Globe-winning Lost, and the critically acclaimed Fringe. In addition, his direction in films such as Cloverfield, Super 8, and the new Mission Impossible and Star Trek films has left fans eagerly awaiting his revival of the Star Wars franchise. As a writer, director, producer, and composer, Abrams seamlessly combines (...) geek appeal with blockbuster intuition, leaving a distinctive stamp on all of his work and establishing him as one of Tinsel Town's most influential visionaries. In The Philosophy of J.J. Abrams, editors Patricia L. Brace and Robert Arp assemble the first collection of essays to highlight the philosophical insights of the Hollywood giant's successful career. The filmmaker addresses a diverse range of themes in his onscreen pursuits, including such issues as personal identity in an increasingly impersonal digitized world, the morality of terrorism, bioethics, friendship, family obligation, and free will. Utilizing Abrams's scope of work as a touchstone, this comprehensive volume is a guide for fans as well as students of film, media, and culture. The Philosophy of J.J. Abrams is a significant contribution to popular culture scholarship, drawing attention to the mind behind some of the most provocative television and movie plots of our day. (shrink)

From Machiavellian city officials to big-time mobsters, corrupt beat cops, and overzealous G-men, Boardwalk Empire is replete with philosophically compelling characters who find themselves in philosophically interesting situations. This book is directed at thoughtful fans of the show. Here, readers discover parallels between the events in Boardwalk Empire and contemporary political events. Twenty philosophers address issues in political philosophy, ethics, aesthetics, feminism, and metaphysics. Is Nucky Thomson a Machiavellian prince or a Nietzschean superman? Is Jimmy's resentment towards Nucky justified, given (...) that Jimmy would never have come into existence had his parents not met? What can be said about the ethics of lying in the seedy world of bootlegging? Agent Van Alden’s unique religious attitudes bring a warped sense of morality to the Boardwalk universe. One chapter brings to light the moral character of Van Alden’s God. Other chapters explores the roles that storytelling, deception, and gender play in the show. (shrink)