Keith Behrman’s film is intent on delivering a nuanced take on expectations surrounding sexuality.
You know by now that I take Orphan Black’s allusions to the prolific work of English philosopher and scientist Francis Bacon seriously.
The cutting-room switchbacks required to hold the tune for nine—or is it 10?—narrative threads foil any chance at building momentum.
“Ipsa Scientia Potestas Est” is a rollicking mid-season wallop that counts among Orphan Black’s best episodes.
“The spirit of man,” Francis Bacon wrote, “is in fact a thing variable and full of perturbation, and governed as it were by chance.”
The concluding montage of clips from “the next Orphan Black” makes clear that she survives, but the episode assumes a somber tone nonetheless.
Orphan Black often cloaks the clearest statement of an episode’s theme in an otherwise inconsequential moment.
Vincenzo Natali emphasizes technically impressive shots in the service of predictable, boring expository beats.