This Canadian series calls itself Anne with an E, although it’s listed on IMDB simply as Anne. Since the stunningly gorgeous title sequence for every episode calls it Anne with an E, that’s the one I’m going with here. Continue reading “Review: Anne with an E”
Travelers is a Netflix original from Canada’s Showcase. It’s a sci-fi tale about consciousness travel from a distant future back to the 21st Century. The purpose – the mission – is to save the world and all the people in it from the horrible future. Continue reading “Review: Travelers, season 1”
Episode 6 of season 3 of Orphan Black is “Certain Agony of the Battlefield.” Lots of plot twists and huge developments mark this episode as a turning point in several ways.
Before I get into that, I want to give a multitude of kudos to the director, Helen Shaver, for creating this episode’s surreal, hallucinogenic, and magical world. Shaver also directed an episode in season 2, Ipsa Scientia Potestas Est. Can she be the permanent director for Orphan Black please?
The recap will be divided into doings at the Hendrix household, doings at Dyad, and doings at the Castor compound.
The Hendrix Drug Machine
Alison (Tatiana Maslany, a multitude) and Donnie (Kristian Bruun) are dancing on the bed in their underwear, tossing money in the air, and having a very sexy time celebrating their filthy lucre. Who knew Donnie could twerk?
They pay off Jason (Justin Chatwin) the 30K or so they owe him, and Donnie still has enough to put $10,000 cash down on a fast car.
Alison has the idea that she can buy her mother out of her store, Bubbles. It will be perfect way to launder all their drug money. She takes Jason and Donnie there to talk about the possibility. Jason thinks it’s perfect.
At Dyad: Sex and Science
Cosima, on the other hand, has been screwing her brains out for 5 days with Shay (Ksenia Solo).
Cosima is missing calls, missing work, showing up late. Scott (Josh Vokey) is mad at her. Delphine (Evelyne Brochu) returns and she’s none to happy with Cosima’s absences either. In fact, Delphine looks at Cosima like she’d like to slap her or spit nails at her or something equally angry.
Delphine talks about trying to protect Dyad and the sisters, but Cosima doesn’t trust her or welcome her return. Delphine knows they processed the samples from Seth’s brain and she shows them that the same faulty protein they found in Seth (Ari Millen, an army) is also in Gracie. She suggests they follow up.
Felix brings Gracie into Dyad. As Delphine and Cosima wait for her outside the elevator doors, they look miles apart. Delphine told Cosima she missed her. Cosima didn’t respond.
Felix sneaks off to have a chat with Rachel, who spends her time in a wheelchair painting with watercolors. He wants to know about Castor so he can find Sarah. Rachel wants out of there.
Scott notices the symbols Rachel is putting in her paintings. He takes one and compares it with the symbols in “The Island of Dr. Moreau.”
Delphine and Cosima work together to examine Gracie. They tell her that whatever Mark infected her with affects different people differently. They tell her the defect is contagious.
After getting in so much trouble for not doing her job, Cosima goes to Shay’s with the intention of telling her they need to slow down. But when she sees Shay all she wants to do is “make out for 7 hours straight.” Shay encourages her to talk. Cosima just wants to make out. Their smooch-fest is interrupted by a call from Scott, who says he thinks Rachel knows Duncan’s key.
At the Castor Compound
It’s been 5 days since Sarah disappeared into the Castor prison. Felix (Jordan Gavaris) is frantic. Mrs. S (Maria Doyle Kennedy) tries to keep him calm, but he’s breaking. Gracie (Zoé De Grand Maison) is still at Mrs. S’s house. They Skype with Kira (Skyler Wexler) in Iceland, who wants to know why Sarah isn’t talking to her.
Paul (Dylan Bruce) is off in Arlington talking to a guy named Benchman (Tom Barnett). He gives him the log books showing sexual contacts that the Castor clones tracked. He whistleblows on Dr. Coady, who is doing unlawful experiments involving civilian females who have sex with the Castor boys. Benchman wants more evidence.
Sarah spins through fever induced hallucinations and strange dreams. Everything appears strange, surreal, part wishful thinking and part reality. She sees Kira and follows her around an empty Castor compound.
Sarah climbs into Kira’s blanket fort and emerges in a room where she sees herself being pumped full of Rudy’s blood.
Sarah dreams she sees Charlotte (Cynthia Galant) who wants to lead her down a tunnel into the light. Sarah resists.
In her fevered dream, she talks to Beth. Beth tells her to stop worrying about why and start finding out who.
Paul arrives and sees Sarah feeling very sick. Her temperature is 103. Dr. Coady says she’s treating her, but Sarah tells him differently.
Paul arrests Dr. Coady and takes over the compound. He puts a lot of people in the stockade. Among the few he trusts is Mark. Paul and Mark go to Coady’s office, where all the science information is stored. They find the evidence Paul needs. Sexual contact with the Castor clones causes sterility in women.
Sarah’s fever has broken. Dr. Coady gets very excited because Sarah didn’t die from Rudy’s blood. She tells Paul and Sarah that what she’s learning can end wars in a single generation.
Helena runs through the desert. When she falls in exhaustion, Pupok the scorpion talks to her about Sarah. She eats poor Pupok. For Tatiana’s sake, I hope she’s really eating a big, black gummy bear, but the thing she put in her mouth was wriggling as she did it. But, really, how hard is it to eat an imaginary scorpion, I ask you?
Rudy, who has been off chasing Helena, comes back to the compound after a phone call from Arlington. He starts killing everyone in a search for Paul. It’s like a video game up in here with all these dead bodies laying around.
The Big Finish
Paul realizes he’s been played. He takes Sarah to a tunnel where she can escape. On the way he kills the clone Miller, but Miller stabs him while they struggle.
Paul goes to Dr. Coady’s office. She finds him there, surrounded by all her science, and shoots him 3 or 4 times in the chest. But, even with a stab wound to the gut and 4 bullets in his chest, the heroic Paul still has enough life in him to give Coady a dirty look and drop a hand grenade on the floor.
It must have been one hell of a hand grenade, because when it explodes it knocks Sarah down in the tunnel.
Helena finds Sarah in the tunnel. They leave together. Helena came back for her sestra!
Delphine sits in front of a pile of photos of Cosima and Shay. She’s watching video of them on her computer as she downs booze as fast as she possibly can. She knew about them all along. As a result, she can’t get blotto fast enough.
Virginia Coady seems to be the mad military-industrial-scientific mind that President Dwight D. Eisenhower was so worried about. In the years just after America dropped two atomic bombs on Japan, obliterating hundreds of thousands of people in a flash of radioactive energy, concern over this kind of thinking was fresh on the American conscience. Scientists/soldiers/corporations with power over life and death – who think the ends justify the means – has been a theme of Orphan Black from the beginning. We’re seeing it played out here in the form of Castor experiments on unsuspecting humans.
The scene between Beth and Sarah was beautifully shot, with characters jumping through time and space. We saw depression on Beth’s face, which is the only way Sarah remembers seeing her. And it was pivotal in setting a direction for Sarah in looking at the who of it all.
Mark is an okay guy. He tells Paul he brought Sarah to the Castor compound so Rudy wouldn’t kill her. He tells Paul he fell in love with Gracie. Speaking of love confessions, Paul told Sarah that he loved her, right before he went off to blow himself up in Coady’s office.
The soldier boy clone count is down to Mark and Rudy. (Maybe. Rudy was close to the grenade in the office.) Paul is dead. Farewell to Mr. Hunkalicious, Dylan Bruce.
Someone in Washington was aware of what Coady was doing and supported it. Who, indeed. Everything is uncertain and in flux.
The Title Quotation
From Dwight D. Eisenhower, this week’s quotation comes from the same paragraph as last week.
Such a confederation must be one of equals. The weakest must come to the conference table with the same confidence as do we, protected as we are by our moral, economic, and military strength. That table, though scarred by many past frustrations, cannot be abandoned for the certain agony of the battlefield.
The Orphan Black episode “Ipsa Scientia Potestas Est” begins in Rachel’s bloody apartment. Daniel’s body litters the floor, Helena’s signature art drawn in blood decorates the walls. Dr. Leakie (Matt Frewer) thinks Rachel (Tatiana Maslany) should take a kinder, gentler approach to the situation. She thinks not.
Paul (Dylan Bruce) will replace Daniel as Rachel’s monitor. Paul is the universal monitor: he’s monitored Beth, Sarah, and now Rachel.
Sarah takes her super-hugger of a twin sister to Felix’s (Jordan Gavaris) place. Helena needs to get out of her bloody wedding dress and clean up. Sarah tells Helena to behave and calls her Meathead. Helena objects with, “Don’t call me this,” but the nickname seems to symbolize the developing bond and affection between them.
Felix wants nothing to do with babysitting Helena – he has a hot date with the morgue boy – and delivers Helena to Detective Bell (Kevin Hanchard) for safekeeping.
Delphine (Evelyne Brochu) learns there is a new stem cell line, compatible with Cosima, that could help her. They go to Dr. Leekie’s office in search of it and he finds them there. Turns out that Leekie is willing to defy Rachel’s directive to shut down the help for Cosima by giving her an injection of the stem cells. He also tells Cosima that the clone’s original genome was destroyed in a fire 20 years ago. We heard about this fire before in relation to Project LEDA.
Paul’s first job as Rachel’s new monitor is to take the gun that Daniel used to kill the cop at Cal’s house and put Felix’s fingerprints all over it. He manages to do that by interrupting Felix’s love fest. Paul calls Sarah and says Rachel wants them all – Sarah, Helena, and Kira – or Felix goes down for murder. Rachel isn’t asking for Felix, which shoots down my budding theory that he might be a clone, too.
At Art Bell’s apartment, Helena is silent. She watches fish while Art asks questions about Maggie Chen and the Prolethians. Finally he feeds her, which loosens her up and she begins to talk. Interestingly, she asks as many questions as she answers, and her questions are intelligent ones. Also, she does love the powdered donuts.
Helena mimes poking the eyes out of one of her early tormentors. From art works we’ve seen of Helena’s where the eyes were X-ed out of a nun, I’m guessing her tormentor was a nun. She mentions a locker and the Swan Man who played God. Then she uses the lid off a sardine can to open her handcuffs and leaves Art cuffed to the wall. She goes to a storage unit (locker) where she has a motorcycle.
Cal (Michiel Huisman) and Kira (Skyler Wexler) are still playing house in the camper. Cal is being a great dad, Kira is being quick-witted and showing signs of ESP. Cal’s hiding a gun and carrying a fake ID. He assures Sarah when she calls that they are close enough to come get her whenever she’s ready.
At the Prolethian compound, Gracie’s (Zoé De Grand Maison) mouth was sutured shut as punishment for Helena’s escape. Henrik (Peter Outerbridge) and her mother Bonnie (Kristin Booth) tell her that, “She can rot,” if she refuses to talk about what happened. If they don’t find Helena, Gracie will carry the egg currently reproducing itself in a Petri dish.
Sarah and Art are in pursuit of Helena. Helena helped out by leaving some GPS coordinates at Art Bell’s. They find the locker and learn that Ethan Duncan is still alive. On the back of a recent photo of him is says “Swan Man.” Helena has taken off with a sniper rifle.
Guess what Paul’s second job as Rachel’s new monitor is? Sex slave.
Helena sets up the rifle in a apartment across from Rachel’s. As she takes aim and prepares to eliminate the problem that is Rachel, we see Rachel and Paul have sex. It’s weird sex. Rachel demands complete control. She orchestrates Paul’s every move and slaps him when he thinks for himself. Rachel demonstrates a kind of ruthless eagerness that is creepy and disturbing. She’s extremely turned on, but it’s the power and control that excite her, not the actual sex.
Helena, watching, says, “Pretty, dirty, sexy Rachel – like my mother.” Is there some woman somewhere that Helena once called mother?
Art and Sarah arrive and want Helena to put the gun down.
Helena wants Sarah to look at what Rachel is doing, at the “unfaithful” Paul. Sarah begs her not to shoot. She explains that Felix will be in trouble if Rachel dies. Sarah walks in front of the rifle and says she doesn’t care about Paul.
Sarah uses tears and some clever talk to convince Helena that they are family now, that they need to care for each other, and that Felix is part of that family. Finally Helena puts down the gun.
Helena and Sarah join hands. They walk out of the room with arms around each other. Sarah calls Helena Meathead again, and Helena responds, “Don’t call me this.” In the car, Helena tells Sarah that they need to go to Cold River, the place of screams.
Sarah meets Dr. Leekie in a bar. She demands Felix in return for Ethan Duncan, who is still alive. Leekie mentions that Cosima is sick – news to Sarah. When Sarah leaves, we realize Paul followed Leekie there. It’s really hard to tell where the real loyalties are with Paul and Leekie. They are ciphers, willing to double-cross anyone, but we aren’t sure why.
This episode was written by Tony Elliott, who is responsible for much of the writing in season 2. It was directed by Helen Shaver. She shared quite a bit about the experience on her Twitter account. Tatiana seemed to enjoy having her as a director.
So much enormous love for @helenshaver.
— Tatiana Maslany (@tatianamaslany) May 18, 2014
The quotation from Francis Bacon used in the title, with English translation:
“Ipsa scientia potestas est. Knowledge itself is power.”
Some photos from BBC America, some ©Jan Thijs 2013. via IMDB.
Everyone fast forwarded through the credits of The L Word because they didn’t like the theme song.
You can learn everything you need to know about all 6 seasons, all 70 episodes, just by watching the opening credits. I’ve had it in my head for years that it would be fun to do recaps of The L Word using only what you see in the credits. Let the fun begin. Continue reading “The L Word Opening Credits (Season One)”