Tag Archives: Tatiana Maslany

Orphan Black 506: Krystal returns with a vital clue

Revelations have been coming fast and furious the last few episodes of Orphan Black, with Sarah and Mrs. S piecing together Susan Duncan’s dark history with Virginia Coady and Cosima uncovering P.T. Westmorland’s plan to harvest Kira’s eggs–a discovery that got her locked up in P.T.’s basement. This week, things heat up even more as Cosima tries to find a way out of her prison cell, and Krystal returns with vital information about Neolution’s endgame.

Here is our spoiler-free preview of “Manacled Slim Wrists,” written by David Bezmozgis and directed by Grant Harvey.

Cage-free Cosima
Cosima needs help to get out of P.T. Westmorland’s basement–but who can she convince to turn against P.T. and free her?

Krystal is back
And her ongoing battle against “big cosmetics” provides plenty of laughs and a major clue about Neolution’s ultimate goal. After this episode, I’ve got my fingers crossed for an Orphan Black spin-off featuring Krystal and her vlog partner Brie (played by the wonderful Cara Ricketts).

Yes, you really did see Tom Cullen in the promo
The talented Welsh actor–and Tatiana Maslany’s long-time partner–guests as an acquaintance of Krystal’s. Cullen and Maslany clearly had a blast filming their scenes together, and their chemistry adds another layer of fun to the episode.

It’s not all laughs
There is a very somber side to this episode, and it ends on a real gut-punch–which is accentuated by the beautiful direction of Grant Harvey.

Orphan Black airs Saturdays at 10 p.m. ET/7 p.m. PT on Space.

Image courtesy of Bell Media.


Orphan Black 504: Writer Greg Nelson on Sarah and Mrs. S’ undercover mission

Spoiler warning: Do not read this article until you have seen Orphan Black Episode 504, “Let the Children & Childbearers Toil.”

“Your hands never get dirty.” -Susan Duncan
“No, only my beautiful, filthy mind.” -P.T. Westmorland

So that’s what happened to Dr. Coady!

A season and a half after Coady (Kyra Harper) was presumed to have met her demise at the hands of Ferdinand (James Frain), the evil doctor (and we now know just how evil she is) turned out to be the “Neolution defector” that Sarah (Tatiana Maslany) and Mrs. S (Maria Doyle Kennedy) were searching for in tonight’s new Orphan Black episode, “Let the Children & Childbearers Toil.” Meanwhile, Cosima (Maslany) discovered a chamber of horrors in P.T. Westmorland’s  (Stephen McHattie) basement, and Sarah and Helena (Helena) shared a huge bonding moment.

We caught up with Orphan Black writer and co-executive producer Greg Nelson to learn more about the decision to bring Coady back, what’s going on with the Creature in the woods and Sarah’s maturing relationships with Helena and Mrs. S.

A lot happens in this episode. It connects a lot of dots from previous seasons but also has some pivotal moments of character growth. What were your major goals/concerns as you began writing it?
Greg Nelson: Once we landed on the big reveal at the end of the episode, which was bringing Coady back, then the whole episode really became about getting to that moment. It happened, obviously, on two levels. Both for Cosima on the Island, and her exploration of the basement, seeing the horrible room where they had kept the creature, the monster, and sort of understanding the level of danger she was in, that the clones are in and that Kira is in, because of what P.T. Westmorland is capable of doing, and at the same, with Sarah and S discovering Coady. So it all seemed to come together nicely storywise when we landed on that, and then it was really about telling the story.

The island story was a pretty straightforward story to tell. The trickier one was the Sarah and S story, because they had to get to their big discovery, but at the time, we were picking them up in a situation where they were really caught. At the end of Episode 502, a terrible thing happened with M.K., and the hammer really comes down from Rachel, Kira is going in and visiting Rachel, and they feel powerless. It’s a show where–particularly with Sarah–she is constantly on the move, constantly trying to get to the bottom of things, fight back against the bad guys. So we needed to create the sense that they’re doing something at the same time as they can’t be seen to be fighting back against Rachel. So, it was a tricky story challenge, because–without giving too much away–they had to be really active and awesome in the way they respond to this level of danger.

And they also had relationship issues that they had to work out, there’s so much going on there. That was the trickiest part, was sort of blocking out their road trip, where they go on the road and try track down the little bit of information that S has, and the relationship stuff of S keeping it from Sarah, all of that was tricky. One of the things we were conscious of, was wanting to have Sarah and S in a new relationship and showing that basically Sarah had earned the ability to deal with S and an adult. There’s always been a quality to Sarah of being still the kid, still the rebellious adolescent, S constantly having to step in and help with Kira. Now, it really feels like in this episode–and we talked a lot about this in the writers’ room–about how Sarah is able to step up and deal with S as and equal, and that was a big moment for those characters. That really formed the heartbeat emotionally of that story, and it really pays off when Sarah says, ‘No, we’re going to see somebody else on the way,’ and she kind of takes control of the mission for a little bit, and the banter between S and Sarah kind of has a new kind of maturity to it.

I loved the scene with Sarah visiting Helena, too. It really moved their relationship forward. 
This is a scene that Graeme knew was coming. It was a scene that he had in his pocket, that he knew–just in terms of their relationship–he had sort of been waiting for this scene to happen. It had been a long time since Sarah and Helena had had a scene together. And it’s the same story that I just talked about with S, where all of these characters–and this goes through the final season, the final trip–all of these characters were reaching a new level of maturity with each other, the sense that they had been through so much together, that they had learned a lot about themselves as well as each other. And that feeling, I felt, was really suffused in that scene between Sarah and Helena. When you think about it, are there any two characters in the show that have gone through a bigger journey in their relationship? They’ve gone from being massive antagonists to being, in some ways, the closest of the clones.

So Graeme had a lot to do with that scene. In every season, there are scenes that you really kind of see as tent pole scenes, scenes that really anchor the thing and the relationships. So it was really an opportunity for them to establish their relationship as twins and equals and sisters supporting each other in a new way.

Was it always the plan to bring Coady back, or did that you only come upon that idea this season?
No, that happened in the room, for sure. That was sort of a discovery that occurred to me one day as we were thrashing through the story, and we had talked about Coady coming back in at some level, and we had talked about having a discovery at the end of this episode that leads us closer to the mystery of P.T. Westmorland and what he’s up to. And we realized we could put those two together. It was one of those lightbulb moments where you go, ‘Oh, of course! It’s Coady they discover!’ And it provides you with a huge reveal at the end of the episode, and the rush of the backstory of Season 3 kind of fills in, and it just brings up to a whole new level of stakes because Coady is one of the baddest villains that Orphan Black has ever had.

Then there was a certain amount of going into the past to kind of figure out Coady’s line, so we could connect it all in a way that made sense. It’s not stuff that we had contemplated previously. But once we started to do that work, where we figured out that Coady was involved with P.T. Westmorland, she was involved with Susan, that there’s a history that they all have together. It was one of those things that connected the dots throughout the whole series, not just in this season. It enriched the world by connecting the backstories–and that’s all stuff that we’re going to learn more about in Episodes 505 and 506.

We learned that Mud has a special relationship with both P.T. Westmorland and the Creature. What can we expect from her in coming episodes?
Mud is one of those fascinating characters who is a bit of a cipher. We know that she has a kind of special relationship to P.T. Westmorland already. We see her in this episode administering the medical care to P.T., and we’re going to find out later what that’s all about. She has access to the house in a way that other people don’t; we see her going through that special entrance way that Cosima can follow. And we have the scene in the woods where she takes the blanket to the Creature in the woods.

I can’t say too much in terms of where that goes, but in terms of the Creature itself, the general growth of seeing him from Episode 501, where he’s a really, really scary violent presence that Sarah runs into, the sense of menace he provides through Episodes 502, 503 and into 504, and then in Episode 504, it’s the first little hint that there’s a presence, a personality behind that creature. I think we get a little glimpse of that. David Wellington, I think, beautifully shot that scene in the woods with Mud. It’s a tricky scene to shoot, because we want to have a little moment of human connection between Mud and the creature, but we want to maintain that sense of menace. But when we go into the basement and see that terrible room that the creature was kept in, we also begin to see him as a victim. And so it really begins in this episode to change. You know, we’re building up P.T. Westmorland as such an evil guy, and so it begins to change our perception of the Creature at, I think, exactly the right point in the season. Suddenly, we’re looking ahead to, ‘Oh, this creature is going to be the clue to something else.’ It’s all starting to pay off.

The things we learn about the Creature’s background also make us fear for Kira all the more. She seems to be the key to everything. 
The thing that was interesting working on Season 5–I hadn’t worked on the first four seasons, but I’d watched them–and the wonderful thing about Kira and the way she functions in the series is that she starts out being an emotional pull for Sarah. In those wonderful first episodes in Season 1 when we see Sarah watching her from across the river, and there she is with S. That incredible love that she has for her daughter, the tragedy of how Kira is caught in the crossfire to some degree as Sarah is targeted by Leekie and Neolution, Kira–as the most vulnerable member of that family–becomes a bit of a pawn in that power struggle. And it’s heartbreaking because she’s just a child, and the emotional stakes around that character are so high for S and for Sarah.

And then I thought what the show and what Graeme did so cleverly is that they planted a seed fairly early on with that car accident that Kira has where she has really fast healing, and you see that starting to come back again in Season 5. And so she becomes a keeper of the stakes in a whole new level. Suddenly, she’s not just an emotional touchstone for us, but she becomes incredibly important in terms of the science. This season, she’s both somebody that we care about and our characters care about, but she also holds the key to the great questions of Orphan Black in terms of the science and Susan and Neolution and P.T. Westmorland. And as we go through the season, we’ll see more and more how Kira’s biology and genetics are a really, really key part of the Orphan Back mystery.

What can you tell us about next week’s episode?
The next episode is just fantastic. I think the best thing to say about Episode 505 is we really start to draw back the curtain on P.T. Westmorland, all those questions about, Who is P.T.? What is happening to him? It’s going to be really enjoyable for people to start to get a good look at him and his operations and what he’s got going. We don’t get all the answers by any means, but we spend some time in P.T.’s world, and it’s quite an interesting place.

Orphan Black airs Saturdays at 10 p.m. ET/7 p.m. PT on Space.

Images courtesy of Bell Media.


Orphan Black 502: Writer Jeremy Boxen breaks down “Clutch of Greed”

Spoiler warning: Do not read this article until you have seen Orphan Black Episode 502, “Clutch of Greed.”

“I want to know why I’m like this.” —Kira

The Sarah Manning (Tatiana Maslany) we met back in Orphan Black‘s first season was a neglectful mother who disappeared for months at a time, leaving Kira (Skyler Wexler) in the care of Mrs. S (Maria Doyle Kennedy). However, the Sarah we see in Season 5 is completely changed: devoted, fiercely protective and determined to protect her daughter from Neolution at any cost. That’s why this week’s episode, “Clutch of Greed”—which sees Kira willingly choose to spend time in the care of Rachel (Maslany)—is such a kick in the gut. Sarah’s time of influence over Kira, already cut short by her previous selfishness, may now be over, handed over to the person she trusts the least.

And just as Kira turns to Rachel in hopes of learning more about herself, Cosima turns to Neolution founder P.T. Westmoreland (Stephen McHattie)—whom we finally lay eyes on—to understand more about the science behind her and her sisters. For a series Big Bad, who is also supposedly 170 years old, P.T. seems almost normal as he goes over Cosima’s latest test results (they’re excellent) and quotes an Arthur Conan Doyle poem. But while his chat with Cosima is disarmingly genteel, it appears in the same episode in which Ferdinand (James Frain) literally stomps the life out of M.K. (Maslany) in a fit of entitled male rage.

Rachel may claim it’s a “new day” for the clones, but this episode underscores that it’s just the same day, different week for Sarah et al., as they all continue to squirm beneath the heel of an oppressive patriarchy.

Joining us to discuss these issues, and break down all the major plot points in “Clutch of Greed,” is Orphan Black co-executive producer Jeremy Boxen, who wrote the episode.

You came over from another great show, Killjoys. How did you land on Orphan Black?
Jeremy Boxen: I have known Graeme Manson for a long time. We first worked together on a show called Endgame, which was shot in Vancouver. It starred Shawn Doyle as a Russian chess master with agoraphobia. So we’ve been friends since then, and this is the first time that our schedules lined up and I was able to get onto Orphan Black. I think we’ve both been trying to get me on it for a while, so this year, the stars lined up and I was able to jump on board, which is really exciting, because obviously it’s the last season, and we’re able to do some really satisfying things with it.

Is there extra pressure coming onto a show in its final season, especially one as beloved by fans as Orphan Black?
Yes, there are always different pressures with every season of television. With Orphan Black, there was pressure to get it right, but it was a thrilling kind of pressure because so much excellence had come before, and all we were trying to do was live up to that excellence and satisfy everyone who loved the show. So it was really a welcome challenge.

We finally meet the mysterious P.T. Westmoreland in this episode, and he looks like a normal Victorian gentleman. Was there much debate about what a 170-year-old prolongevity pioneer would look and act like? 
There was a lot of discussion about it, but Graeme came into the room with a clear vision already in mind of what he thought P.T. would actually be—which was a throwback who was clinging onto the vestiges of Victorian society where he’d come from. So there’s this air of theatricality about him, this air of Victorian science, and a certain charm that P.T. Westmoreland had to have to really be at the top of Neolution and pull the strings in the way that he does as a puppetmaster. And also the hunt for an actor who could sort of live in both worlds—that old Victorian science world but also exist in the present in a very grounded way. So I’m thrilled that we got Stephen McHattie to do it.

I loved Cosima’s conversation with him, including the story about the cheese and the cow. Where did that come from? 
The bulk of the conversation came from our group work, like most of the things on the show, but I was very pleased that I was able to work in the poem about the cow, which is a little Arthur Conan Doyle poem that I had found by chance, because my spouse was in a book club and the book they were reading at the time was a graphic novel about Charles Babbage and Ada Lovelace teaming up to create a steam powered computer in Victorian times [“The Thrilling Adventures of Lovelace and Babbage: The (Mostly) True Story of the First Computer” by Sydney Padua]. So it was a very steampunky, kinda funny, heavily researched novel, and as part of the research, in the foot notes, this poem was listed. So I was like, ‘You know what? There’s a confluence of Victorian science and imagination that’s perfect for someone like P.T. Westmoreland.’

Cosima made the decision to stay on the island and ‘follow the crazy science,’ like Delphine told her to. What is that going to mean for her?
Well, obviously his science is very intriguing, and it’s attractive, but from my point of view, I would say that Cosima is always interested in helping her sisters and the rest of the world. So there will always be that interesting tension between being able to do good in the world and being drawn into some science that is perhaps unpalatable and that’s sort of the brunt of the season, as she gets closer to P.T. Westmoreland and deeper into his science, the question is where will she find herself and what choices will she make at the end of it?

Rachel also recently met P.T. Westmoreland and seems very changed by the experience. What is going on with her?
You know, what can you say about Rachel? She keeps her cards close to her chest and the extent to which she has bought into P.T. Westmoreland’s vision and power versus the long game that she’s playing is something that only Rachel knows. I believe that will continue to play out through the rest of the season in surprising ways.

Ferdinand does not like Rachel’s new Zen-like vibe, and takes out his rage on M.K. Why was the decision made to kill poor M.K.?
Very early on in our discussions for the season, we came to the realization that M.K. would be dying for a number of story reasons and character reasons, and it made sense for that to happen at the hands of Ferdinand because of their ugly history together that was still left unfinished. So apart from the story reasons for that to happen, there’s a very personal, emotional reason for M.K. and Ferdinand to come together in that way and for Ferdinand—because of everything else that he’s going through—to act so horrifically. And the tragic result is something which will have some ripples throughout the next few episodes.

M.K.’s death was shockingly violent. 
Orphan Black is not a show that traffics in violence for violence sake. It all comes from character and scene. So the horrific violence we see on Ferdinand’s part is really an extension of the awful power structure in which the sisters find themselves, the patriarchy, and a lot of male control and a lot of male violence. So Ferdinand killing M.K. is a very concrete example of the kind of danger in which the sisters find themselves.

It certainly reminds viewers of just how dangerous Ferdinand is. 
It really does, and it gets to the reality behind all the fun we’re having, which is the patriarchal power struggle that exists really has the potential to result in horrible violence.

Kira makes the major decision to defy Sarah’s wishes and spend time with Rachel in hopes of learning why she is the way she is. How is Sarah going to handle that going forward? 
That’s one of the questions—what are we going to see from Sarah? Because this is really what we had fun doing this year, was charting Kira’s agency as she really comes into her own. She’s just growing up and taking control of her own life and asserting her own wants and needs. So that’s a new challenge for Sarah for sure, and we thought it was important as we’re dealing with various structures of power but also generational structures and how knowledge and wisdom is passed down from one generation to another, particularly in a matriarchal fashion. So one of the questions for the season is how does Sarah negotiate with all the women in her life, and in this case, her daughter, who is coming into her own?

It was so great to see Delphine and Mrs. S finally begin working together! Although, I thought Delphine was supposed to be in Sardinia. How did she get to Toronto? 
The thing to keep in mind with these two is they always have more cards up their sleeves then we think. Out of anybody, these are two characters who are really playing the long game, so it’s going to be very interesting to see what they’re cooking up, and when it comes to light for everybody else, how it fits in with the story at large. But like you say, it is pretty juicy to see them working together, and it’s going to pay off in some very interesting ways.

And in terms of the practicality of Delphine getting around—she’s magical, isn’t she? [Laughs.] She has the skills to appear where she needs to be, I would say.

What was your favourite scene of the episode? 
I really liked the one-shot clone switcheroo scene with Sarah and M.K. It was a thing of beauty to see them rehearse and see it come together, the way that Kathryn [Alexandre] and Tatiana acted together in the scene and rehearsed it and really blocked it out.

I was able to be there for it; we workshopped it to make sure all the dialogue fit in the right place and all the emotional beats landed. And on a technical level, it was very difficult to pull off, and for me coming onto Orphan Black for the first time, it was really fascinating for me to watch how technically that everybody put it together, from the crew running around and shooting the scene with the Technodolly to how things were stitched together in post-production with the CG and making it all very seamless so that the drama really popped and nothing else got in the way of that.

What can you tease about the rest of the season?
I’m really looking forward to the fans being able to live with the characters in the moments that we get to spend time with them in ways we haven’t seen before, either through flashbacks or interesting scenarios. This season really is a season that allows us to spend time with the characters in a very intimate way and everybody gets their big emotional moments. So I think fans are going to be pretty satisfied by the end of it, no matter who their favourite characters are.

Orphan Black airs Saturdays at 10 p.m. ET on Space.

Images courtesy of Bell Media.


Orphan Black 502: Sarah defies Rachel in “Clutch of Greed”

While Orphan Black‘s Season 5 premiere ended with a supposedly kinder, gentler Rachel claiming it was a “new day” for the Leda clones, Episode 502 deals with the rippling effect her latest power play has on Sarah and the rest of her sisters.

Here is our spoiler-free peek at “Clutch of Greed,” written by Jeremy Boxen and directed by John Fawcett.

Mother/daughter tensions
Not buying Rachel’s new “velvet glove” promises, Sarah refuses to bend to the Neolution leader’s demands. However, Sarah’s decision provokes pushback from Kira, who is starting to assert her own autonomy.

Ferdinand’s not happy with Rachel’s post-P.T. attitude
No, seriously. He’s not. Always great to see James Frain, though.

Follow the crazy science
At the Revival camp, Cosima earns some face time with the mysterious P.T. Westmoreland. We won’t say much, other than Stephen McHattie is the perfect casting choice for the enigmatic founder of Neolution, and we hope Cosima and ole P.T. have more of these chats.

The return of a familiar face
Felix tracks down an old ally to help Sarah, and we were happy to see them pop up again.

A new level of clone magic
Be ready to feast your eyeballs on a clone scene that required jaw-dropping levels of technical wizardry to pull off. It’s not flashy. You may not even notice what’s happening at first—which makes it all the more impressive. Kudos to John Fawcett, Tatiana Maslany, Kathryn Alexandre and all the crew involved. Holy wow.

Orphan Black airs Saturdays at 10 p.m. ET on Space.

Image courtesy of Bell Media.


Orphan Black 501: The clones face the beginning of the end

Spoiler warning: Do not read this article until you have seen Orphan Black Episode 501, “The Few Who Dare.”

“Whatever this place is, it’s the answer.” —Cosima

Welcome to the final trip!

After four seasons spent tumbling down the rabbit hole in an attempt to uncover the conspiracy behind the creation of Sarah Manning and her sister clones, Orphan Black‘s fifth (and last) season finally emerges in Wonderland—a Wonderland as conceived by H.G. Wells, that is.

The season premiere, “The Few Who Dare,” written by Graeme Manson and directed by John Fawcett, begins right where we left off last season, with Sarah (Tatiana Maslany, fresh from her first Emmy win) badly wounded and fighting for survival on Susan Duncan’s (Rosemary Dunsmore) mysterious private island. The island potentially holds the answers to 40 episodes of questions because it also houses P.T. Westmoreland, the 170-year-old founder of Neolution whose quest for prolongevity spawned the creation of the clones. However, his search for the fountain of youth isn’t necessarily going as planned—as evidenced by the “Island of Doctor Moreau”-esque creature that attacks Sarah in the episode’s opening scenes—and, as always, the clones can never trust the motivations of Machiavellian pro-clone Rachel (Maslany), who is in her most powerful position yet.

“There’s only one faction now.” —Mr. Frontenac

Over the past four seasons of Orphan Black, we’ve met a series of individual and organizational villains with disparate ideologies and goals. This tangled web has led to both some convoluted plots and a few story missteps—I’m looking at you, Castor clones—but Season 5 simplifies matters by focusing on the Big Bad behind the curtain, P.T. Westmoreland (Stephen McHattie). The Proletheans are long gone, but the island’s Revival camp—which has taken in Cosima—keeps that group’s cultish vibe alive by acting like a science-loving Peoples Temple. Cosima’s cheery new pal, Mud (Jenessa Grant), explains that the people in the camp are P.T. Westmoreland’s “children,” chosen from around the globe to “genetically improve the human race.” The group is completely self-sustaining, with their own power, food and educational system.

“This place is scary,” says Charlotte (Cynthia Galant), after leafing through a propaganda-laced children’s book.

Word, Charlotte. Word.

“Follow the crazy science.” —Delphine

Yet, for all Revival’s creepiness, Cosima can’t help but be intrigued. While Sarah just wants to get off the island and take her sister with her, Cosima wants to stay, simultaneously repulsed and enticed by the science. This is great news for viewers, as Cosima’s ethical sparring with Susan in Season 4 was a highlight, and any sitdowns with P.T. Westmoreland will undoubtedly crackle, especially given our resident geek monkey’s inability to hold back the sass.

As for Delphine (Evelyne Brochu), it was wonderful to see her have a few romantic moments, albeit rushed, with Cosima again. These two have been put through the wringer, and any tender moments between them have been more than earned by long-suffering Cophine fans. Hopefully, Delphine’s forced trip to Sardinia will be short-lived.

But, of course, Delphine’s temporary exit opened the door for the episode’s most shocking and uncomfortable moment—Rachel administering the cure to Cosima with a giant needle to the uterus. Yikes!

“It’s a new day, Sarah.” —Rachel

And what is up with Rachel? While her new right-hand man, Mr. Frontenac (Andrew Moodie), and Art’s (Kevin Hanchard) new Neolution partner, Detective Engers (Elyse Levesque), spent the episode trying to bring Felix (Jordan Gavaris), Mrs. S (Maria Doyle Kennedy), Alison (Maslany) and Helena (Maslany) to heel on Rachel’s behalf, the formerly bitter clone comes away from her “seclusion” with P.T. looking like she’s had a true religious experience. She not only helps Cosima, but she promises Sarah that “it’s a new day,” even as she has her darted and carried away. I must admit that Rachel has never been one of my favourite characters, and I was hoping she might finally meet her (very justified) end this season. However, her post-P.T. glow has me deeply curious. What do you have up your perfectly tailored sleeve, Rachel?

Side Notes

  • What the hell, Donnie (Kristian Bruun)? Alison gets captured and you casually tip-toe off into the woods like you’re bailing on a boring lunch date? Not cool, dude. Not cool.
  • Sorry, the stick to Helena’s belly doesn’t frighten me. That pregnancy has gone on far too long for it to end that way. However, her injury does provide more opportunity for Donnie/Helena to bond, and, most importantly, they have to leave the shelter of the woods for help.
  • In a parallel to the first time she received treatment for her illness (that time with Delphine at her side), a single tear fell from Cosima’s left eye as Rachel administered the cure. Kudos to Tatiana Maslany for remembering that detail.
  • Art has always been the steadiest ally for the clones, but how much will his loyalty bend now that the Neos have threatened his daughter?
  • Elyse Levesque is my favourite addition to the cast. Disarmingly deadpan delivery.
  • Great to see Hellwizard (Calwyn Shurgold) again, and looking forward to M.K.’s (apparently) imminent return.

Orphan Black airs Saturdays at 10 p.m. ET on Space.

Images courtesy of Bell Media.