TV Club: Orphan Black keeps its eye on the prize

One of the finest aspects of Orphan Black has always been its ability to be about four shows in one. While in virtually any other TV series this would be evidence of a complete inability to manage tone, on this one it’s just the show’s way of showing the infinite variations in these women’s lives. So while one scene may be suburban satirical comedy (see: Alison returning home with some kind of punk realtor haircut and a silly tattoo), the next is a grueling exercise in body horror.

The creeping dread that pervades “Gag or Throttle” is partly an effect of most of the action being centered on Rachel, the show’s resident Bond villain, with her carefully enunciated “privacy” and flat but expressive face. Her presence in a scene generally keeps the tone somewhere on a scale with two points: menacingly polite or horrifically violent. And …

Leave a Reply

Your email address will not be published. Required fields are marked *