Andrew Sullivan recently pondered the question “Is psychiatry a religion?” In that post, he quoted a retort to the accusation, and the key idea in it that he latched onto was that “the single common feature of all religious is a preoccupation with unseen sentient beings, of which psychiatry says nothing” which Sullivan drying countered with “Two words: Sigmund Freud.”

The only problem with that is that Freud’s stances are outrageously outdated and naive. It is no longer the predominant stance of psychiatrists, nor is it taught as anything more than a historical curiosity in psychiatry classes any longer. Granted, all of this is from my personal experience while working towards a cognitive neuropsychology minor in university (which I sadly abandoned for brevity’s sake), but nearly every aspect of Freud’s work was taught minimally and then a superseding work was introduced that explained all of the things Freud’s work did but better.

Say what you will about the subjectivity of psychiatry and psycho-analysis, but when it comes to Sigmund Freud, neither the man nor his work is sacrosanct.

Up until now, Dollhouse has been a good show. Even a great show at times. But it wasn’t a Joss Whedon show. The first five episodes were hindered by network interference, but with this episode Whedon finally got out from under the thrall of Fox’s “creative consultancy” and Dollhouse finally became a Joss Whedon show. Before now, you could see inklings of Whedonism in the show — Lubov’s “Sweet Home Georgia” line from a couple weeks ago, in particular — but this episode brought it all together; there was intrigue, philosophical pondering, humour, and plot twists galore. More (a lot more) after the break.

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