This moment puts Sarah on a collision course with a lot of other forces in her life and reveals to her that she is a clone, a genetically engineered individual created by a corporation. It follows Sarah (Maslany), a grifter who returns home to Toronto just in time to see a woman with her exact face step in front of a train. The show itself is a semi-science fiction take on identity and feminism and "the personal is political". I'm sure you've been hearing about it recently as it's picked up in popularity and people have started to notice what a gem it is. Orphan BlackĀ is a Canadian TV show co-produced with BBC America and starring Tatiana Maslany as like nine of the main roles. Instead, we got a character so complex and so capable of change that she's become a fan favorite and, by the third season, the emotional core of the show.
I mean that the character of Helena, that of the somehow sympathetic crazy anarchic former serial killer Ukrainian twin clone of our protagonist, would so easily fall into the real of soap opera in anyone other than Tatiana Maslany's capable hands. And I don't mean that she's hard to pull off because Helena has a hell of a grip and if she were stuck somewhere she would be physically hard to pull off - though that is true. Orphan BlackĀ comes back tomorrow, and while I'm sure that over the course of this blog you have somehow picked up on the fact that I rather like the show (maybe one of my loving recaps or other features on it tipped you off), I'd like to yet again remind you of my adoration by talking about one of the more complex and hard to pull off characters from the show: Helena.