The season finale of Orphan Black opens with a wonderfully shot sequence in which images of Sarah being questioned are intercut with images of Sarah, Felix, and Mrs. S trying to figure out their next move amidst the chaos that results from Kira’s kidnapping. It juxtaposes the very real, human fear of a mother who’s lost her daughter with the cold, sterile environment of Dyad, and once again, we see a prevalent theme shine through: the desire for individuality clashing with the grasp of science.
Relationships can dissolve at any time, and sometimes, what you thought was a connection turns out to be merely a manipulation, a way to grasp hold of your feelings and eventually dig a knife right in. We see that in abundance in “40 OZ of Furlough”, a simultaneously hilarious and thoughtful episode that puts the wheels into motion for the season’s endgame.
“If you’re lying in a coma and you just can’t deal with it anymore and you’re just too tired and you’re ready to see what’s on the other side, it’s not my place to tell you what to do, brother. It’s just not my place. But whatever you decide, I’ll still love you, D. Always. Forever and always.”
Rectify is one of the most moving, unique, and breathtaking television shows I’ve ever seen, and it’s only been seven episodes thus far. “Running with the Bull” kicks off the second season with a wonderful look at the fallout of the beating Daniel took at the end of season one, and the episode proves that the show is as good as ever.
“Nobody gives a shit about old ladies. We remind everybody they’re going to die.”
One of the recent major focal points of the season has been the elderly and the places they occupy in the prison society. The sad truth is that they simply don’t occupy much of a place, as we saw in the season’s coldest moment in “Comic Sans”, and they’ll continue to be marginalized by the prison system in general.
Fargo is essentially a tale of good and evil and what happens when the two clash. It’s a simple story, but it’s an effective one, and Hawley and co. milk everything they can out of it as we close the door on this 10-episode run. It’s a finale not without its bumps, but it’s satisfying thematically and plot-wise, deftly delivering the closing chapter to the crazy ride we’ve been on over the last few months.
“Do I lay awake fantasizing about personally taking down an institution that is the single greatest stain on the American collective conscience since slavery, with the awesome power of my words? Sure. But in the daytime, I’ve accepted that’s not going to happen.”
In society–but especially in an institution such as prison–there are “grasshoppers” and “ants”, the former stuck in the mud of today and the latter acknowledging the idea of a future. “Comic Sans” portrays these two types of people and their fates as the power grapple in Litchfield progresses.
“Can this just be okay?”
Season 4 of Louie has made it abundantly clear that our titular character has women and relationship problems: he’s slept with a model, he’s learned something from the woman he spent time with in “So Did the Fat Lady”, and he’s had a connection with Amia, but at the end of it all, he’s left with very little. So, as we saw in “Pamela Part 1”, he attempted to force Pamela to have sex with him, to rekindle a flame that he desperately hoped was still there.
“Wake up the bitch.”
Throughout this episode, we see a Jack Bauer who goes through an emotional journey, starting out more aggressive than usual before denial, hurt, and eventually acceptance seep into his demeanor. Most of the time, he’s been able to pull a rabbit out of a hat and figure out how to solve seemingly impossible problems, but here, he’s helpless as both the President of the United States and a respected colleague walks away to his death.
The Children of the Forest serve as a bit of a metaphor for all the other children in the show thus far: the beings that Bran comes across in this episode are ancient, beings that have been in the same place for who knows how long. The aforementioned “other children” have been trapped by their parents’ doings, destined to live out the rest of their lives in their parents’ shadows. That’s the very essence of the Iron Throne, isn’t it? It’s desired by many and is the most powerful position in the land, but it passes down through generations.
When Orphan Black is on its game, there are very few shows that can touch it. Whereas last week was a bit of a misfire, this week throws us right back into the thick of things with gusto, brilliantly setting up what should be a satisfying and exciting season finale.
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