When “To Right the Wrongs of Many” airs this Saturday, Orphan Black’s five-year narrative, which dug deeper and deeper into conspiracy and convolution each season, will finally come to a (hopefully) reasonable conclusion. While it will be interesting to see what becomes of P.T. Westmoreland, ahem, John Somebody, if there’s any justice in the Orphan Black universe then he’ll likely go the way of the Aldous Leekies, Henrik Johanssens, Virginia Coadys, and Evie Chos of the world who couldn’t keep a good clone down. And Neolution, like the Dyad Institute, the Proletheans (Old World and New), Project Castor, and Brightborn Technologies, will fall before the sestras.
Even if that doesn’t happen and Orphan Black winds to the bleakest of ends, or worse, ends with no resolution, I’d still see the finale as a major success if these minor characters returned for even a single scene.
I’m just going to say it: Donnie and Alison Hendrix are crap parents. Yes, yes, I know they sent their children away to keep them out of the clutches of Neolution, but they honestly don’t seem that broken up to be away from their kids for such an extended period of time.
From the very beginning, Gemma (and her brother, Oscar, see below) seemed more like an obligation to Alison than someone she chose to bring into her life.
Just as Kira’s biology, the fact that she’s a biological descendant of a clone, is a major plot point, it would have been nice if the series had spent time discussing Gemma and Oscar’s adoption. Why and how did Alison and Donnie choose them?
After all, beneath the layers and layers of secret societies and mad science, Orphan Black is a show about family. And the central family (Mrs. S and her chickens) is one of adoption, so it would have been nice to have seen Alison’s relationship with her kids, not just her driving them to soccer practice.
Who is Oscar Hendrix? Unlike his younger sister, whom we saw quite a bit of at her birthday party in “The Antisocialism of Sex,” Oscar is a veritable mystery. We’ve seen him in gis, so we know he’s a practitioner of some form of martial art, but what more can we say about the Hendrixes’ elder child.
To be clear, Oscar and Gemma didn’t need robust lives with their own ongoing story lines, not even much-more-integral-to-the-story Kira had all of that. All I wanted was for Oscar and Gemma to seem wanted by their parents, as they must have been at some point. Since it’s too late to give Oscar and Gemma the personalities and character development they deserved, at least let them come home to their parents.
All I’m looking for here is a scene with Oscar and Gemma sitting in their own living room, watching a movie with their folks.
Cal, who was last seen in season three’s “Transitory Sacrifices of Crisis,” could well be dead for all we know, found and killed by one of the clones’ many, many enemies. This likely isn’t so; he’s probably still chilling out in Iceland somewhere, but here’s hoping he makes a return to Toronto to be with Kira. He won’t fill the S.-shaped hole in her life, but I’m sure she won’t balk at having her father around again.
All I’m looking for here is a quiet, normal moment between Cal, Kira, and Sarah; Lord knows it’s been a while since they had one of those.
At the end of the penultimate episode, Helena’s water broke, meaning her twins, who’ve been stewing since season two, are finally going to make an appearance (talk about 11th-hour introductions). Earlier in “One Fettered Slave,” Coady went into quite the diatribe about why Helena is unfit for motherhood, while her sisters will undoubtedly be there to help raise their youngest family members (and Donnie seems very eager to help as well), it would be nice if the man who so enraptured our volatile meathead also returned to lend a hand.
All I’m looking for here is more affable awkwardness between the two. I’ll even settle for a one-sided phone call, or even an “I’m meeting Jesse next week,” any concrete detail that proves Jesse is part of Helena’s happy ending.
Say what you will about Angela Deangelis, whose name cemented her in my heart from the very moment I heard it, but the woman is persistent. (Nosy as all hell is another way to put it.) That persistence made her despised by many an Orphan Black fan, but it’s also the reason she desperately needs a final-hour return. There’s no way Angela Deangelis doesn’t rear her pretty nose once again, perhaps to save Art, either in the line of duty or by convincing him not to leave the department (because, really, Art must be dying to leave law enforcement after all of this).
I won’t hide it, I’ve always carried a wave for the nonexistent Art/Deangelis ship, but that’s not why she needs to return. Knowing Deangelis, she probably kept snooping around the clones, even after Donnie’s threats. But, unlike the fortuitous Krystal, Deangelis has managed to uncover absolutely nothing about Project Leda, Neolution, or anything, until Delphine and Cosima’s info dump.
All I’m looking for here is for Art to finally relax, crack open a cold one with his one-time partner, and tell Deangelis everything she’s been failing to find out for so long.
Orphan Black’s final trip ends on Saturday, August 8, 2017, and the world will be a simpler, less entertaining place once it’s gone.