TV

'Orphan Black' Closes With a Reaffirmation of the Power of Sisterhood

(BBC AMERICA ).

The way Orphan Black always put women at the center of its story, never shortchanging their complexity for likability or easy solutions, is what will be most remembered and missed.


Orphan Black

Airtime: Saturdays, 10pm
Cast: Tatiana Maslany, Jordan Gavaris, Kevin Hanchard
Subtitle: Season 5, Episode 10 - "To Right the Wrongs of Many"
Network: BBC America
Air date: 2017-08-12
Amazon
John: Luck shot for a mutation.

Sarah: Yeah. I survived you. We survived you. Me and my sisters together. This is evolution.

Helena: My story is an embroidery with many beginnings and no end. But I will start with the thread of my sestra, Sarah, who stepped off a train one day and met herself.

The final episode of Orphan Black, the aptly titled "To Right the Wrongs of Many", has plenty to resolve, and thankfully, it does so easily. It puts to bed the larger Neolution plot that's been driving the story since the beginning, while also offering an emotional end to these characters' arcs that aren't only fitting, but earned.

The episode wisely dispatches with John (the maniac formerly known as P.T.) (Stephen McHattie) and Coady (Kyra Harper), who'd managed to survive Helena’s (Tatiana Maslany) brutal attack from last episode, in the first 20 minutes. Helena kills Coady, Sarah kills John, and then they, with the help of Art (Kevin Hanchard), bring Helena's twins into the world. The birth marks the first major emotional catharsis in the episode, as scenes of Sarah giving birth to Kira -- with Mrs. S (Maria Doyle Kennedy) at her side, supporting her like always -- are interspersed with Helena’s labor. These twins working together to bring another set of twins into the world, despite every possible obstacle, is as emotionally satisfying a moment as this show has ever done. Maslany's naked emotion in portraying both Sarah and Helena is a master class in conveying feeling, in all its complexity and messiness. It's a beautiful moment that stands out in a finale filled with them.

In resolving the Neolution story so early, the rest of the episode is dedicated to the aftermath of its end. Sarah is outwardly pursuing her GED (although she walks out when it's time to take the exam), Helena is raising her babies with Alison and Donnie's (Kristian Bruun) help, and Cosima, along with Delphine (Evelyne Brochu) and Scott (Josh Vokey) are trying to locate the rest of the LEDA sisters to pass along the cure. While the other sisters are clearly moving forward, however, Sarah is stuck. She's intent on selling the house she and Kira (Skyler Wexler) shared with Mrs. S, despite Felix's (Jordan Gavaris) attempts to convince her otherwise, and start a new life somewhere else, even if it's away from her sisters.

The culmination of the episode is Helena's baby shower, beautifully mirroring her dream baby shower from the beginning of season three, minus the elaborate costuming. As the sisters gather together to celebrate, Sarah is plainly grieving for Mrs. S. She didn't have the opportunity to truly mourn and now that the fight is over, she's drowning in her grief, with no real outlet for it. When Sarah admits "I don't know how to be happy", it's an opportunity for her sisters to provide the kind of support she's only ever consistently had from Mrs. S. It's a passing of the torch in a way, while also cementing that these women truly know and understand one another; it's as gratifying a moment as it gets.

Again, it's impossible not to mention Maslany's remarkable gifts in this scene. She plays Sarah, Helena, Alison, and Cosima -- each with their own gestures and mannerisms -- gathered closely together in a scene that covers much emotional ground, while also inserting enough of the signature Orphan Black humor that Helena and Alison deliver so effortlessly. Sarah's slouch is different from Cosima's lounge, and Alison's perfect posture, and Helena's childlike sitting. Maslany effortlessly conveys singular personalities and their dynamics in gestures as simple as these.

It should also be mentioned that Maslany, and the show, would never have been able to accomplish all they have without the extraordinary and often thankless work of her scene partner, Kathryn Alexandre. The many takes for a scene like this one to come together is a team effort, with Maslany undoubtedly at its center, but its success is difficult to imagine without the connection built between Maslany and Alexandre over five seasons. Whatever the legacy of Orphan Black, it'll always be the series that gave Maslany the opportunity to show what an extraordinary actor she is, and hopefully, Alexandre will also soon be given the chance to showcase her skills in a more traditional way.

This isn't a show that chose to go out in a big battle sequence; rather it ended happily for the sisters who've already battled more than any one family ever should. That they're firmly in each other lives, in all its alternating mundanity and higher purpose, speaks to the fact that these women are survivors, but above all, they're family. It's a message the show has continually emphasized, even when the sisters weren't always ready to acknowledge it.

The strength and perseverance they've exhibited over and over again, and the community built by these women leaves them in a place where Alison and Donnie are as silly and in love as they've ever been, Helena is surrounded by the family she never had the chance to experience growing up, Cosima and Delphine are finding and curing the 274 LEDA sisters all around the world, and Sarah is slowly but surely finding some peace and happiness in stability. Even Rachel, whose final act was passing along the list of 274, appears to have found some measure of her own peace.

Orphan Black has consistently delivered on the twisty plot that drove 50 episodes worth of story; more than that, it went out of its way to tackle issues of gender and sexuality, all the while upending the conventions of family. There's much to be grateful for after five seasons of Orphan Black, but the way it always put women at the center of its story, never shortchanging their complexity for likability or easy solutions, is what will most be remembered, and ultimately, missed.

9

To be a migrant worker in America is to relearn the basic skills of living. Imagine doing that in your 60s and 70s, when you thought you'd be retired.


Nomadland: Surviving America in the Twenty-First Century

Publisher: W. W. Norton
Author: Jessica Bruder
Publication date: 2017-09
Amazon

There's been much hand-wringing over the state of the American economy in recent years. After the 2008 financial crisis upended middle-class families, we now live with regular media reports of recovery and growth -- as well as rising inequality and decreased social mobility. We ponder what kind of future we're creating for our children, while generally failing to consider who has already fallen between the gaps.

Keep reading... Show less
7
Music

The World of Captain Beefheart: An Interview with Gary Lucas and Nona Hendryx

Gary Lucas and Nona Hendryx (photo © Michael DelSol courtesy of Howlin' Wuelf Media)

Guitarist and band leader Gary Lucas and veteran vocalist Nona Hendryx pay tribute to one of rock's originals in this interview with PopMatters.

From the opening bars of "Suction Prints", we knew we had entered The World of Captain Beefheart and that was exactly where we wanted to be. There it was, that unmistakable fast 'n bulbous sound, the sudden shifts of meter and tempo, the slithery and stinging slide guitar in tandem with propulsive bass, the polyrhythmic drumming giving the music a swing unlike any other rock band.

Keep reading... Show less

From Haircut 100 to his own modern pop stylings, Nick Heyward is loving this new phase of his career, experimenting with genre with the giddy glee of a true pop music nerd.

In 1982, Nick Heyward was a major star in the UK.

As the leader of pop sensations Haircut 100, he found himself loved by every teenage girl in the land. It's easy to see why, as Haircut 100 were a group of chaps so wholesome, they could have stepped from the pages of Lisa Simpson's "Non-Threatening Boys" magazine. They resembled a Benetton knitwear advert and played a type of quirky, pop-funk that propelled them into every transistor radio in Great Britain.

Keep reading... Show less

Kehr was one of the best long-form essay writers people read for clear and sometimes brutally honest indictments of film.

It's perhaps too trite and rash to conclude that the age of good, cogent film criticism is over. They still exist out there, always at print publications such as The New Yorker and at major newspapers like The New York Times. An argument can be made that the late, legendary film critic Roger Ebert became a better writer when he departed from cinema and covered literature, book collecting, or even the simplest pleasures of life. If we look at the film criticism of James Agee from the '40s, or even the short but relevant stint of novelist and short story writer Graham Greene as a film critic, we come to understand that the greatest writing about film went beyond the spectrum of what they saw on the screen.
Keep reading... Show less
8

This book offers a poignant and jarring reminder not just of the resilience of the human spirit, but also of its ability to seek solace in the materiality of one's present.

Marcelino Truong launched his autobiographical account of growing up in Saigon during the Vietnam War with the acclaimed graphic novel Such a Lovely Little War: Saigon 1961-63, originally published in French in 2012 and in English translation in 2016. That book concluded with his family's permanent relocation to London, England, as the chaos and bloodshed back home intensified.

Now Truong continues the tale with Saigon Calling: London 1963-75 (originally published in French in 2015), which follows the experiences of his family after they seek refuge in Europe. It offers a poignant illustration of what life was like for a family of refugees from the war, and from the perspective of young children (granted, Truong's family were a privileged and upper class set of refugees, well-connected with South Vietnamese and European elites). While relatives and friends struggle to survive amid the bombs and street warfare of Vietnam, the displaced narrator and his siblings find their attention consumed by the latest fashion and music trends in London. The book offers a poignant and jarring reminder not just of the resilience of the human spirit, but also of its ability to seek solace in the materiality of one's present.

Keep reading... Show less
8
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image