Pauly
Shore is queer. So what happens when he
(and his lover, isn’t it obvious?) enters an enclosed environment where a
so-called environmentally homeostatic society is being developed? He is ostracized. What does he do in reaction? He fucks things up, as he should. What I am getting at is the biopolitics of Bio-dome, and how Shore’s increasingly
queer and delinquent behavior eventually brings the bio-dome to its breaking
point.
Biopolitics
is the administration and fostering of life.
Within the bio-dome one type of life is established (a very
hetero-normative life) and Shore is too queer to be allowed to participate in
this life. So quite literally, Shore and
his lover (played by Stephan Baldwin) are left to die of thirst in the desert
of the bio-dome, but not before they are able to fuck it up enough to bring the
bio-dome to its breaking point. Envision
biopolitics as existing as a sound wave.
Everything is included within the wave, yet it becomes more intense at
the apex of the wave. But before the
wave breaks into a discordant and uncontrollable noise, we head back the other
way and remain stable. Shore, being
queer, is on this wave length, but he is denied access to any privilege, or in
other words, he is not allowed to participate in the more intense portions of
the wave. So, to resist, he must tweak
the wave past its apex until it becomes noise.
Once
he tweaks and modulates the wave of biopolitics he is able to participate in
developing a new lifestyle for the bio-dome. Which is not to say there aren’t many more
problems with the new homeostasis established by Shore in Bio-dome; it is to say that Bio-dome
is a critique of heteronormativity and how it operates within biopolitics.
-Eric Virzi
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