“Let’s hope that the episode was more of a rough spot instead of the point at which the narrative complexity of Orphan Black toppled under its own weight.” – Jonathan Raeder

Well. That was certainly a strange one.

Throwing a curveball like the addition of a new clone – and a trans one at that – so late in the season may turn out to be brilliant move. With two the season not officially over, it’s too early to tell the overall effect of certain narrative choices, especially with a show like Orphan Black that effectively tells a story in 10 episodes instead of 10 self-contained stories that add to a greater whole. However, “Variable and Full of Perturbation” felt off in more ways than one. Let’s hope that the episode was more of a rough spot instead of the point at which the narrative complexity of Orphan Black toppled under its own weight.

Let’s hold off on talking about Tony ‘til the end, and instead look at the other shows that make up Orphan Black.

Sarah doesn’t have much to do this episode other than scowl at Ethan. She’s – rightly so – suspicious of everyone at this point, even Mrs. S and Felix, and is left with nothing else but to protect her daughter and fellow clones from the influence of nearly everyone else out there. She does, however, realize the gravity of Cosima’s illness and agrees to use Ethan to cure her, despite not trusting him and definitely not trusting Rachel.

Alison and Donnie have a heartfelt reconciliation; it seems that Donnie was way over his head in Leakey’s experiment and knew nothing else about Alison’s status as a clone or even that she was probed in the middle of the night. A drunken Donnie has done nothing but leave Leakey in his trunk and drown himself in Alison’s secret stash of alcohol. Finally, Alison confesses her murder of Aynsley, only for Donnie to confess his. It’s a fun (OK, maybe fun isn’t the exact word) parallel between the two suburban parents awash in lies, hidden alcohol, and secret accidental murders. Hopefully they can pull through and find a way out of the often hilarious, very dark comedy they’ve found themselves in.

Cosima and Delphine also reconcile, though instead of alcohol they get high and start speaking of the “L” word (and no, it’s not lesbian). This episode seems to finally cement the fact that Delphine does actually love Cosima, despite keeping secrets from her. Then, when everything seems like it’ll finally go well, Cosima collapses and seizes on the floor, blood pouring from her mouth. The stakes have never been higher for the clones, and some serious compromises might need to be made to keep her alive.

Rachel turns back on the ice for her second meeting with her “father” Ethan, who’s asserted that he’s the only one able to save Cosima. She asks the same question we’ve all been asking: why can Sarah have children? Ethan gives us a brief glimpse of the answer: she’s the mistake. The clones aren’t supposed to have children. The intercut scenes of Rachel raging and destroying everything are a bit hard to place. Did they take place before or after this conversation? Either way, they’re an excellent reminder of the fury bubbling inside her. She’s been robbed of children on purpose. Again, people playing with these women’s bodies and personhood, without consent.

Finally we get to Tony. The addition of a new clone is always a momentous change for the show, even as it works at juggling five major clones already. This one is a bit different from the rest though: he’s transgender. Orphan Black has already proven itself one of the most LBGTQ-friendly shows on TV, but it’s still nice to see that the show’s willing to give some representation to an oft-neglected group (even if Tatiana Maslany herself is not a trans-man, but that’s a lengthy, fraught discussion for another day and place). Tony’s gender identity is not the problem with this episode.

Tony’s problems, narratively speaking, stem from his sudden introduction. Sarah, Beth, Cosima, and Alison were introduced mostly at the start of the show, so by nature their introductions were big and important. Helena and Rachel both served as antagonists with interested reveals that threw off the friendly, compatriotic nature of the Clone Club. Yet Tony just blunders into the story with no build-up, clutching a vague message for Beth, who’s obviously been dead since the series began. How many clones are still out there? Is the show just relying on an unspecified number to draw from at will whenever the show needs a shot of surprise?

It would be interesting to find out how early the show-runners had planned the introduction of Tony, because right now it seems that he’s more in it just to show yet another example of Tatiana Maslany’s acting talent. She’s been an English hustler, a suburban house-wife, a stoner lesbian scientist, a deranged child-like Ukrainian assassin, and a cold calculating businesswoman, and now she’s even going to play a man! Yet the make-up seems a bit off, and Tony’s characterization (which isn’t much, so far) almost makes him seem too similar to Sarah.

The best possible way to deal with these problems lies in two options. First, the show can have Tony leave and never really appear again, make him just a plot device, so his shallow characterization seems less egregious. The second option would be to do the opposite and keep Tony in the show, adding layers of complexity until we love him as much as the rest of clone club. Taking the middle option and keeping him around without some improvements might be damaging to the show.

Either way, Orphan Black has unfortunately been piling on layer and layer of confusing plot developments, and the cracks have grown. Judgment will be withheld until the end of the season, but with the series not officially picked up for a third season yet, we’re going to need some answers that will tie things together well enough that when and if season three happens and inevitably brings with it more confusion, it’s manageable.

Please, Cosima, your death would definitely serve for making the stakes higher and cutting down on the juggling plots, but…you can’t die!

Tidbits:

  • Despite the intrigue and mysteries of the entire show, honestly, my favorite parts are Alison’s storylines. Alison and Donnie: the unstable suburban murder couple.  
  • I have to say, despite its predictability, I did enjoy Cosima, Scott, and his friends playing whatever strange table-top hybrid game they were playing.
  • Is the show hinting at a possible romance/relationship with Tony and Felix? Felix and Sarah aren’t blood relatives, but it is a bit uncomfortably close to incest.
  • “Paul’s a ghost.” As in he is ephemeral, not that much of a character, and completely devoid of substance? #weeklyPaulbashing
  • “Everybody hates my mother.”
  • “You used my gun?”
  • And the greatest quote of the episode comes from the always quotable Felix. “Holy Tilda Swinton!” She is holy indeed, Fee, holy indeed.