TV

'Orphan Black': The Frenetic "The Clutch of Greed" Features Impersonations, Violence, and Loss

Sarah formulates a plan to escape from Dyad.

There’s a lot to unpack, but the show deftly moves things toward a quickly approaching finalé with its signature fast pace.


Orphan Black

Airtime: Saturdays, 10pm
Cast: Tatiana Maslany, Jordan Gavaris, Maria Doyle Kennedy
Subtitle: Season 5, Episode 2 - "The Clutch of Greed"
Network: BBC America
Air date: 2017-06-17
Amazon
Cosima: No disrespect, but I know you created me. And I have no interest in being part of your collection. So, what the hell is the point of all of this?

Ferdinand: Who are you now, exactly? It was all for you, Rachel. All of this.

Things are starting to come together in the fast and furious way that Orphan Black does so well. The sisters (Tatiana Maslany) are forced back together, some working their own agendas; Felix (Jordan Gavaris) and Mrs. S (Maria Doyle Kennedy) are plotting a way to get Sarah and Kira (Skyler Wexler) away from Rachel; Helena escapes from a hospital; and MK makes her final appearance. There's a lot to unpack, but the show deftly moves things toward a quickly approaching finalé with its signature fast pace.

Rachel's professed change of heart doesn't fool Sarah, whose not interested in anything she has to offer. Ferdinand (James Frain) tries to convince her to cooperate by connecting her to Alison (and Art [Kevin Hanchard]) and Cosima, all seemingly on board Rachel's plan. When Ferdinand asks, "Is Sarah Manning finally ready to behave?" the overwhelming answer is obvious: fat chance. Although she agrees to Rachel's plan to study Kira -- a plan she calls "low impact, non-invasive" -- Sarah is quickly at the center of a plan involving Felix, Mrs. S, Scott (Josh Vokey), and MK.

The sequence in which they attempt to carry out the plan -- involving Sarah impersonating Rachel and Mrs. S impersonating a teacher at Kira's school, while Felix sneaks them out a back entrance -- is genuinely exciting (even though its clear they won't make it), and a testament to Maslany's stellar acting. Whenever she plays one of the clones impersonating another, she shines in a way that makes it nearly impossible to remember that one actor is playing all these roles. The plan falls apart when MK doesn't show and Sarah goes after her. Ferdinand follows and Sarah narrowly escapes (after switching clothes with MK), and the resulting scene in which he finds MK is one of the most horrific in the show's history. In a fit of anger at Rachel and the discovery that he's found MK and not Sarah, he brutally murders MK. It's clearly the final season and Orphan Black isn't shying away from casualties, but it's still a shocking moment.

Kira's the interesting wild card this episode. Her connection to the sisters and their emotional states has already been established, although with little additional information, and her willingness to trust Rachel ("I want to know why I'm like this") is in direct opposition to Sarah’s plan. Kira's outburst is especially meaningful because it happens as she realizes that MK is dead. Seeing her walking with Rachel to Dyad for the first of her regularly scheduled tests is Sarah's greatest fear come true, particularly because MK had previously revealed that Rachel was planning to restart human cloning. Here again, Maslany deserves special mention, not only in communicating Sarah's emotional devastation, but also in the subtlety of Rachel's menace, shown chillingly in the slamming of a car door and a look.

The science at the heart of Orphan Black is complex and constantly evolving, and Cosima has consistently been a proponent of understanding what Sarah prefers to ignore. Cosima's illness is a further incentive for her to pursue the science behind their existence, and PT Westmoreland (Stephen McHattie) entices her with potential answers. The long-awaited reveal includes references to his acquaintance with Arthur Conan Doyle (complete with photographic proof) and cryptic poetry, as well as an offer to give Cosima free rein in the lab. His motives remain unclear, but Cosima's intrigued and she's sure to take advantage of Revival's resources -- helping Charlotte is an immediate goal -- even if she ultimately refuses any further offers.

Meanwhile, Helena and Donnie (Kristian Bruun) are in the hospital as Helena receives treatment for the piece of wood that punctured her stomach last episode. Helena's natural distrust of most people is especially on high alert when the neonatal doctor's title hits a little too close to Neolution for her liking. She escapes the hospital, stabbing the doctor with a needle from cheek to cheek, before the doctor can perform an amniocentesis. She then proceeds to stumble out of the room, naked from behind her hospital gown. Helena's violence is always survival-motivated, unforgiving, and at times very funny; it's a direct contrast to the violence Ferdinand inflicted on MK, and serves as a way to differentiate the kinds of aggression frequently seen on the show.

There’s a great deal of parallelism going on in "The Clutch of Greed", much of which pays homage to the complicated histories of these characters. Helena's babies healing themselves in utero mirrors the genetic miracle of Kira's birth, while both Sarah and Rachel walk with a limp, each inflicted by the other, aiding in Sarah's ability to pass as Rachel. These parallels offer another way to understand these characters, while connecting them even more.

Orphan Black is juggling a great deal right now, not the least of which is Delphine's (Evelyne Brochu) sudden appearance at Mrs. S's door at the end of the episode. With eight episodes left to wrap things up, the show's on a specific course, one that's sure to be filled with more surprises, more violence, and hopefully, with Sarah, Alison, Cosima, and Helena alive and well.

8

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Editor's Note: Originally published 30 July 2014.

10. “Bedlam in Belgium”
(Flick of the Switch, 1983)

This is a massively underrated barnstormer from the boys off the much-maligned (unfairly, I think) Flick of the Switch. The album was missing Mutt Lange, but the Youngs did have his very capable engineer, Tony Platt, as co-producer in the studio at Compass Point in the Bahamas. Tony’s a real pro. I think he did a perfectly fine job on this album, which also features the slamming “Nervous Shakedown”.

But what I find most interesting about “Bedlam in Belgium” is that it’s based on a fracas that broke out on stage in Kontich, Belgium, in 1977, involving Bon Scott, the rest of the band, and the local authorities. AC/DC had violated a noise curfew and things got hairy.

Yet Brian Johnson, more than half a decade later, wrote the lyrics with such insight; almost as if he was the one getting walloped by the Belgian police: He gave me a crack in the back with his gun / Hurt me so bad I could feel the blood run. Cracking lyrics, Bon-esque. Unfortunately for Brian, he was removed from lyric-writing duties from The Razors Edge (1990) onwards. All songs up to and including 2008’s Black Ice are Young/Young compositions.

Who’ll be writing the songs on the new album AC/DC has been working on in Vancouver? AC/DC fans can’t wait to hear them. Nor can I.

 
9. “Spellbound”
(For Those About to Rock We Salute You, 1981)

"Spellbound" really stands as a lasting monument to the genius of Mutt Lange, a man whose finely tuned ear and attention to detail filed the rough edges of Vanda & Young–era AC/DC and turned this commercially underperforming band for Atlantic Records into one of the biggest in the world. On “Spellbound” AC/DC sounds truly majestic. Lange just amplifies their natural power an extra notch. It’s crisp sounding, laden with dynamics and just awesome when Angus launches into his solo.

“Spellbound” is the closer on For Those About to Rock We Salute You, the last album Lange did with AC/DC, so chronologically it’s a significant song; it marks the end of an important era. For Those About to Rock was an unhappy experience for a lot of people. There was a lot of blood being spilled behind the scenes. It went to number one in the US but commercially was a massive disappointment after the performance of Back in Black. Much of the blame lies at the feet of Atlantic Records, then under Doug Morris, who made the decision to exhume an album they’d shelved in 1976, Dirty Deeds Done Dirt Cheap, and release it in-between Back in Black and For Those About to Rock.

In the book Phil Carson, who signed AC/DC to Atlantic, calls it “one of the most crass decisions ever made by a record-company executive” and believes it undermined sales of For Those About to Rock.


 
8. “Down Payment Blues”
(Powerage, 1978)

This is one of the best songs off Powerage -- perhaps the high point of Bon Scott as a lyricist -- but also significant for its connection to “Back in Black”. There are key lines in it: Sitting in my Cadillac / Listening to my radio / Suzy baby get on in / Tell me where she wanna go / I'm living in a nightmare / She's looking like a wet dream / I got myself a Cadillac / But I can't afford the gasoline.

Bon loved writing about Cadillacs. He mentions them in “Rocker” off the Australian version of TNT and the international release of Dirty Deeds Done Dirt Cheap: Got slicked black hair / Skin tight jeans / Cadillac car and a teenage dream.

Then you get to “Back in Black”. Bon’s dead but the lyrics have this spooky connection to “Down Payment Blues”: Back in the back / Of a Cadillac / Number one with a bullet, I’m a power pack.

Why was Brian singing about riding around in Cadillacs? He’d just joined AC/DC, wasn’t earning a lot and was on his best behavior. Bon had a reason to be singing about money. He was writing all the songs and just had a breakthrough album with Highway to Hell. Which begs the question: Could Bon also have written or part written the lyrics to “Back in Black”?

Bon’s late mother Isa said in 2006: “The last time we saw him was Christmas ’79, two months before he died. [Bon] told me he was working on the Back in Black album and that that was going to be it; that he was going to be a millionaire.”

 
7. “You Shook Me All Night Long”
(Back in Black, 1980)

Everyone knows and loves this song; it’s played everywhere. Shania Twain and Celine Dion have covered it. It’s one of AC/DC’s standbys. But who wrote it?

Former Mötley Crüe manager Doug Thaler is convinced Bon Scott, who’d passed away before the album was recorded, being replaced by Brian Johnson, wrote the lyrics. In fact he told me, “You can bet your life that Bon Scott wrote the lyrics to ‘You Shook Me All Night Long’.” That’s a pretty strong statement from a guy who used to be AC/DC’s American booking agent and knew the band intimately. I look into this claim in some depth in the book and draw my own conclusions.

I’m convinced Bon wrote it. In my opinion only Bon would have written a line like “She told me to come but I was already there.” Brian never matched the verve or wit of Bon in his lyrics and it’s why I think so much of AC/DC’s mid-'80s output suffers even when the guitar work of the Youngs was as good as it ever was.

But what’s also really interesting about this song in light of the recent hullabaloo over Taurus and Led Zeppelin is how much the opening guitar riff sounds similar to Head East’s “Never Been Any Reason”. I didn’t know a hell of a lot about Head East before I started working on this book, but came across “Never Been Any Reason” in the process of doing my research and was blown away when I heard it for the first time. AC/DC opened for Head East in Milwaukee in 1977. So the two bands crossed paths.

 
6. “Rock ’N’ Roll Damnation”
(Powerage, 1978)

It’s hard to get my head around the fact Mick Wall, the British rock writer and author of AC/DC: Hell Ain’t a Bad Place to Be, called this “a two-bit piece of head-bopping guff.” Not sure what track he was listening to when he wrote that -- maybe he was having a bad day -- but for me it’s one of the last of AC/DC’s classic boogie tracks and probably the best.

Mark Evans loves it almost as much as he loves “Highway to Hell". It has everything you want in an AC/DC song plus shakers, tambourines and handclaps, a real Motown touch that George Young and Harry Vanda brought to bear on the recording. They did something similar with the John Paul Young hit “Love Is in the Air”. Percussion was an underlying feature of many early AC/DC songs. This one really grooves. I never get tired of hearing it.

“Rock ’n’ Roll Damnation” was AC/DC’s first hit in the UK charts and a lot of the credit has to go to Michael Klenfner, best known as the fat guy with the moustache who stops Jake and Elwood backstage in the final reel of The Blues Brothers and offers them a recording contract. He was senior vice-president at Atlantic at the time, and insisted the band go back and record a radio-worthy single after they delivered the first cut of Powerage to New York.

Michael was a real champion of AC/DC behind the scenes at Atlantic, and never got the recognition he was due while he was still alive (he passed away in 2009). He ended up having a falling out with Atlantic president Jerry Greenberg over the choice of producer for Highway to Hell and got fired. But it was Klenfner who arguably did more for the band than anyone else while they were at Atlantic. His story deserves to be known by the fans.

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