Art & Angela DeAngelis connect ‘Beth’ to Sarah Manning, who they believe is Jane Doe - the woman shot and dumped in the gravel quarry..., but Jane Doe is Katja Obinger and  Sarah Manning died before Katja did... Making two identical corpses, but only one positive ID to go around.  Mrs. S covers for Sarah with the cops, while Paul makes Olivier cover for he and Sarah with Leekie, as Colin covers for Felix, Felix covers for Sarah and Delphine betrays Cosima but .... covers up the existence of Kira....  Whom Helena discovers, because of the letter in the jacket she got while covering for Sarah, herself.

The Connection Continues! Why does Helena react the way she does when she learns Sarah has a daughter?

Further to Tatiana’s brilliant suggestion that Helena be motivated more by love than hate, her evolving relationship with Sarah has become a gut-wrenching tap dance with her own development, versus the lives she might have had, had her own life been anything like the others’.  We imagined that, following the treat of a lunch with Sarah - and the opportunity to confront an abomination like Olivier in the last episode, Helena’s reaction to learning the clone she felt closest to was capable of producing such pure innocence would absolutely rock her (and her beliefs) to the core.  A child makes Sarah a mother; a child makes Helena confront her morality at its essence.  For naturally created life is all she is really championing.  And here it is, staring her in the face... full of all the love she’s probably never known. 

We’ve suspected Mrs. S knew more than she let on for a while. Is Sarah’s trust well-placed?

As with all clone relationships, only time will tell.

We loved Olivier! Why’d he have to die?!

Olivier, played by the incredible David Richmond Peck was a vital character with a key role to play in the unveiling of the cloning conspiracy.   Believe us, when his time came we were just as devastated as you were.  But he was always intended to be Middle Management; merely another pawn with another set of personal travesties hanging over his head to serve a larger agenda.  In a way, Olivier was just another victim of what’s really going on.  His ultimate demise reminds us of what Paul assured Sarah, in earlier episodes:  This is serious, and messing with this machine never comes without some lethal consequence.  There is too much at stake not to tie up loose ends.  Once Olivier has lied to Leekie, he signed his own death warrant.

Does the contraption Olivier is in at the hospital actually exist?

Yes! It’s a special brace for keeping pressure off of the patient’s back, or in Olivier’s case, his stump.  The idea of Olivier being forced to lay face down and communicate with mirrors is brought to you by our brilliant Art Department, who brought photos of real world contraptions used to facilitate folks in similar - if not identical - circumstances.

What is that coming out of Olivier’s mouth when he dies?

Olivier’s foamy final flailings are created with egg whites.

Who directed this episode?

This chapter was directed by the amazing Ken Girotti; you’ll know his works from series like Vikings, Bomb Girls, Damages, Copper and Saving Hope -- to name but a few of his illustrious credits. During his time with us, Ken managed to give a new mobster nickname to every crew member on deck: shout-out to the Serbian Eye-Ball, Johnny Donuts, and Donna the Slap!

Please tell us you didn’t just kill Kira!

All we can tell you is that despite a blizzard, dizzying fog, an ice storm and pouring rain, no clones were harmed in the making of this episode. However, you will definitely want to come back next week to see what all this clone-on-clone intrigue is really going to cost...

Trinculo: Legg'd like a man! and his fins like arms! Warm, o' my troth! I do now let loose my opinion, hold it no longer: this is no fish, but an islander, that hath lately suffer'd by a thunder-bolt. [Thunder.] Alas, the storm is come again! My best way is to creep under his gaberdine; there is no other shelter hereabout: misery acquaints a man with strange bedfellows. I will here shroud till the dregs of the storm be past.
William Shakespeare, The Tempest Act 2, scene 2, 33–41

Meanwhile in Hard Science...

So many astonishing developments in related real-world science and human cloning, so little time...  As this chapter of our story went to air, our real-ife science consultant - Cosima Herter - sent The Hive these true stories!

The New York Times:
Cloning Is Used to Create Embryonic Stem Cells
http://www.nytimes.com/2013/05/16/science/scientists-use-cloning-to-create-embryonic-stem-cells.html?ref=science&_r=0

Los Angeles Times:
Scientists create human embryos to make stem cells
http://www.latimes.com/news/science/sciencenow/la-sci-stem-cells-cloning-20130516,0,748507.story

“You wanna mess with my life? I’ll mess with yours.” - Alison

Let’s face it:  any half-decent, truly diabolical illegal human experiment is going to require more than a few unlikely pairings.  But our front-line conspirators could hardly have foreseen a trio of rebellious victims all willing to hop into the sack (proverbial or otherwise) with whomever it takes to get to the bottom of who is really screwing them around.

Human clones make for strange bedfellows.  Sarah, Cosima and Alison are each confronting their own very personal New World Order, in their own unique ways.  The terms of their existence are again up for grabs.  Every relationship they ever had, or will ever consider having, is definitely open to corruption, manipulation or misunderstanding.  In addition to genetics, they now share a collective vulnerability.... At the hands of those around them....  At the hands of those hunting them....  And sadly, at the hands of one another.

The price of their cooperation is, losing the luxury of an independent act.  Anything one does impacts the others now.  Some clones just take this responsibility much more gravely than others.  Only one outcome is guaranteed:   no one can continue as they are.  When your very own assassin has proven more useful to your survival than the forces who claim to serve your ‘best interests’, it’s gotta be tough to know where to turn. 

Sure you have ‘friends’ on the police force.  But going to the authorities you’ve punked to find answers?  Probably isn’t going to work out in anybody’s favor.

Of course, Art and DeAngelis have never given up their hunt.  They have two mysteries to solve:  a gruesome murder, and ‘Beth’s’ sudden self-retirement from the force.  No mere cop is going to get the memo that Big Science is actually the culprit.  

But they’re getting warm.  Hot, in fact.  Keeping all the lies going is tossing Sarah out of one line of fire and into another.  Cosima seems lost to her own rose-coloured hopes, and so is rightly regarded as more of a danger, than a reliable resource.  Alison returns early from couples‘ camp having learned very little about compromise, it seems.  Leaving Sarah with yet another option she’s spent all this adventure trying to avoid.

It’s back to being that child in the black; full-circle to her murky past, to those who seem to have first saved her, and more unexpected alliances.  Time to clean house, clear the air; come to terms with those she’s deceived, or find a way to further divert them.  If the clones won’t adapt to their new reality as a collective, they can only become their own worst enemies. Trust goes to those who have earned it.  A Darwinian selection, however unnatural, is underway.

But as we well know, sharing isn’t always caring.  A little insight can be a very deadly thing.

Call them the walking partially deceased. Months after a zombie outbreak laid waste to many a healthy human brain, sufferers of Partially Deceased Syndrome (PDS) have been drugged back to life (well, sorta), dolled up with face paint, and prepped to come home. Part one of BBC’s three-part series event, In the Flesh premieres this Saturday, May 18 at 10:00pm ET, telling the story of what happens when the half-dead try to reassimilate with the fully living.

The kinda-corpse at the centre of the series is Kieran Walker (is that last name a play on words?), a recovering face-eater who’s just returned to his family after months of treatment. He’s haunted by the memory of his final brain binge in the aisles of a ransacked supermarket, but that’s not the only thing tormenting him—his hometown has taken a particularly extremist stance toward PDS sufferers, and the upstart Human Volunteer Force (HVF) is determined to oust the unwanteds with their own brand of murderous vigilantism. Unfortunately for Kieran, his little sister Jem is one of the HVF’s star members.

In addition to plenty of scrappy zombie gore, In the Flesh offers lots of cool what-ifs on life after a near apocalypse. See below for more details from the press release:

This spring, Space encourages viewers to keep calm and avoid the undead with the North American premiere of In The Flesh on Saturday, May 18 at 10 p.m. ET. Committed to educating both the living and the reanimated, the three-part supernatural drama series from the BBC tells the story of zombie teenager Kieren Walker (Luke Newberry, Anna Karenina) and his reintegration back into the local community. The series is set in the fictional village of Roarton, England after a zombie outbreak in which thousands of the dead have been reanimated after months of rehabilitation and medication. When the zombies – referred to as partially deceased syndrome (PDS) patients – are deemed ready to return to their homes and families, they’re haunted by the memories of the atrocities they committed while rabid, and also face extreme hostility from the living.

Man, Steven Moffat has a lot to wrap up here. So I opened the floor to gather people’s opinions on Clara, both theories and thoughts – we have one episode left to solve a mystery that has no clues, as well as bring back a question that’s been ignored since “The Wedding of River Song” (though “Doctor who?” has been asked a lot).

We asked what you were most excited for in our poll yesterday and here are the results:

The return of River Song: 44.4%
The return of Vastra, Jenny and Strax: 3.7%
Learning the Doctor’s name (you know that probably won’t happen, right?): 7.4%
Finally getting to the bottom of the Clara mystery: 44.4%

Let’s talk about the top two...

Finally Getting to the Bottom of the Clara Mystery
You’ve shared your thoughts, I’ve shared my thoughts, Ajay and Teddy shared their thoughts, and a general consensus is that too much mystery was built without any character story. In short, we don’t care! I think the key word in this answer is the “Finally” – stop the teases; just get to your point.

The Return of River Song
This is where my vote landed. Some people are on the fence with River Song but I personally love her! Season 6 might have been heavy with River’s story but it would make sense for her to pop in and out of the Doctor’s adventures (especially given their history/future). Also, she’s his wife! Stop checking out Clara’s tight skirt!

(Ugh, I just had a thought... what if Clara and River are one and the same therefore making it okay for the Doctor to check her out!)

Rewatch all of season 7 (yes, that includes the Pond episodes) leading up to the exciting finale, “The Name of the Doctor” and rewatch ALL OF THEM online the following day!

J.J. Abrams holds nothing back in the follow-up to his 2009 reboot of the Star Trek franchise. Bursting out of the gate with an exuberant action sequence—Spock (Zachary Quinto) is trapped in an erupting volcano—Abrams immediately sets the tone for his sequel: bigger, louder, and in many ways better than the first. Upping the action, lens-flares, and bromance melodrama between Kirk (Chris Pine) and Spock, Star Trek Into Darkness treads old ground in the series, but with a confidence that makes it all its own.

Picking up where the first instalment left off, Into Darkness begins with Kirk getting stripped of his command of the USS Enterprise, as he violates a mission’s prime directive in order to rescue Spock. It wasn’t logical, he explains to his confused first officer, but it was loyal. With this established as the overarching theme of the film, Into Darkness treks into more sober territory when the mysterious John Harrison (Benedict Cumberbatch) bombs London. After Harrison attacks high-ranking Starfleet officers, Kirk is reinstated on the Enterprise and ordered to take out the fugitive. Breaking the mandate of the Enterprise as a ship of exploration, the vessel is armed with undetectable torpedoes (a thinly veiled analogy for drones, a comparison which Abrams courts by dedicating the film to the victims of 9/11). Discovering Harrison is hiding on Klingon home planet Kronos, the Enterprise heads off as intergalactic war seems imminent.

Like the first film, Into Darkness largely succeeds thanks to the cast. Pine and Quinto’s chummy rapport has only warmed in the past four years, giving a tangible naturalism to their id and ego relationship: Pine exudes that Kirkian confidence that is both sexual yet somewhat adolescently inept (Kirk has yet to get the girl under Abrams’ watch); Quinto has fully grown into his pointy ears, mastering the removed air of the most famous Vulcan. Though Lt. Uhuru (Zoe Saldana) isn’t given much to work with beyond gasp and glare at Spock (though she does speak Klingon), she plays this with an exaggerated sass that earns laughs.

Though the tone of Into Darkness is, well, darker than the previous film, Abrams strikes a balance between gloomy and fun. Peppering the film with moments of cornball humour, there’s no decent into the self-serious. Aiding this are Bones (Karl Urban) and Scotty (Simon Pegg), who bring levity to their scenes with perfect comedic timing.

Visually, the Enterprise has never looked better. Abrams’ strong suit has never been the small-scale, and at times dramatic moments are lost as the camera jumps and lense flares to the point of distraction. (The strongest dramatic scene in the film finds the camera static for once, fixed on Cumberbatch’s face, allowing him to do what he does best: act.) This aside, in both space and on Earth Abrams manages to create a sense of depth and wonder in the large-scale sequences, be it a city crumbling or masterfully re-imagining the Enterprise at warp speed.

As we enter the summer blockbuster season, Into Darkness sets the bar high.

]]> http://www.space.ca/article/Review-Star-Trek-Into-Darkness Kiva Reardon f6e323f9-6c6a-4dc7-a5e5-26c42c3c2440 Fri, 17 May 2013 10:53:00 GMT Kiva Reardon

J.J. Abrams is a brave soul. Not only did he take on rebooting the much-loved franchise of Star Trek, he’ll now do the same with Star Wars. So far Abrams has largely passed the test with Trekkies, but we’ll have to wait and see what happens when he takes on the galaxy far, far away. With a rabid fan base, Abrams might be stepping into a firestorm if he messes up Han Solo or R2D2. Realizing the director could be in a tight spot, late night host Jimmie Kimmel arranged for him to get advice from some influential people: Captain Kirk and Lando Calrissian.

Anticipating that Abrams wouldn’t be able to talk about the details of the forth-coming Star Wars reboot, Kimmel asked his studio audience to give Abrams some suggestions for the plot. Surreptitiously planted in the audience were William Shatner and Billy Dee Williams. Shatner, sporting a dapper hat, suggested getting rid of the “Han Solo and Lando thing” and instead bring in Kirk. "No rules, no skirts, you know. Road trip of a lifetime," he cryptically pitched to Abrams.

As if combining Star Wars and Star Trek wasn’t already unorthodox enough, Shatner had another unconventional idea: “Leia and Chewy should do it.” He even brought along sketches to illustrate the suggestion, proclaiming it to be “hot stuff.” As for Williams, he thought Abrams should make a film that was “two hours of Lando and beautiful ladies making love, sweet love, in the galaxy.”

To put it mildly, both the last two ideas are pretty racy. Though it’s hard to say which one would cause the most emotional trauma upon viewing.

]]> http://www.space.ca/article/JJ-Abrams-gets-advice-from-Captain-Kirk Kiva Reardon 9f7386f0-3d92-4dc1-ba38-4b6986517ed8 Thu, 16 May 2013 16:59:00 GMT Kiva Reardon

The season is counting down to the finale as the action, intrigue and mystery is revving up! So where are we as we enter episode 8? Cosima is doing her own recon mission as she gets closer to Delphine and Max Headroom Dr. Leekie, there are experiments involving genetic enhancements, Paul puts his neck on the line for Sarah, Helena is still bat-shit crazy and proving to be an unlikely ally, Art is zeroing in on this conspiracy, Sarah gave her own name to Helena.

Phew, if all of that is crammed into one episode, I can’t imagine how much the next three will reveal.

On to this week’s episode! After sitting out last week to patch things up with Donny, Alison is back to deal with her real monitor. The whole conspiracy thing starts to bleed into parts of Sarah’s life she wanted to stay clear of as Helena makes contact with Kira and Sarah is forced to reveal the Clone Club secret to Mrs. S, whom at this point we’re still led to believe she has no knowledge of any of this. Then there’s the Beth conspiracy that Art is on to which will inevitably lead to the whole cloning experimentation. In other words: Shit, meet fan.

Tune in this week for an all-new episdoe of Orphan Black and catch it again repeatedly right here at space.ca!

Pack your bottled frog’s breath, we’re heading to Prattville, Alabama, where the old cotton and gin factory is practically pissing with ghostly activity. Although almost all the locals have their own freaky story to tell, the Deep South Paranormal gang focus their excursion on two of the most legendary town spirits. After a young boy named Willie Youngblood fell down the elevator shaft on the job, his mother (now known as “The Lady in Black”) drowned herself in the nearby river out of grief. Both are said to haunt the factory and surrounding area to this day.

On their first night in Prattville, Keith, Benny, and Jon have some success making initial contact with Willie, while the others fail to woo the Lady in Black. Regardless, they all agree that the factory is crawling with possibly paranormal hazards, from metal chains that swing of their own accord, to junk that falls from the ceiling, to stray bats. Forget catching a ghost, Randy comes a few paces away from catching a mean case of rabies.

Since the Lady in Black is proving a little hard to get, Hart decides to up the ante, southern voodoo style. The climax of this episode involves a traditional “summoning doll,” some votive candles, a slow cruise down the river on a rowboat, and of course, a few vials of frog’s breath. Kind of sounds like the makings of a romantic first date—if you were trying to court the dead.

Watch the full episode to see if the gang can reunite a heartbroken mother with her son.

This article contains video, click here to watch online.

Swimming with dolphins is for wussies—as the latest episode of Panic Button shows, the real adrenaline junkies take dips in tanks filled with dirty water alongside soggy sewer rats. While last week’s living burial was pretty bad, this week things get even wetter, bloodier, and furrier.

Here’s the latest roster of fraidy cats:

Courtnay, 23 – Can’t take cockroaches
Leah, 22 – Afraid of torture (duh)
Laila, 19 – Scared of rats, specifically that they will come up from the toilet and bite her butt
Darryl, 22 – Doesn’t dig needles
Rachel, 21 – Hates germs and bacteria

As usual, the contestants endure a scream-provoking slideshow of their fears before progressing into the maze. Courtnay proves herself the most vocal Panic Button contestant so far, emitting a constant stream of squeals and ohmygods from the moment she sets foot on her first pile of slugs. Leah copes with things a little better, asking simply “Why are you enormous?” to a snake whose face is centimetres from her own.

The initial onslaught proves too much for Laila and Courtnay, who promptly hit panic and are disqualified from the game. (Courtnay complains of being tired and thirsty, as though she’s been walking through the desert for three days.) Moving on to stage three are Leah, the French student; Darryl, the Zamboni driver; and Rachel, the wannabe cop.

And here’s where things get next-level nasty. Rachel is instructed to take a nap in a bloody, maggot-filled bed, then fish a key out of what looks like the toilet from Trainspotting. Darryl plays a grim real-life game of Operation, extracting squishy body parts from a skeleton while trying to avoid getting shocked. Meanwhile, Leah must strap herself to a bare metal bedframe and endure a chillingly realistic torture simulation.

Needless to say, they don’t all complete their tests, and in the final round things get even worse. There’s a horror movie-style biology lesson and, as we mentioned above, rats. Lots and lots of hideous, wily, beady-eyed rats.

Fun, right? Watch the whole episode right here!

This article contains video, click here to watch online.

InnerSpace spent this past weekend at the Toronto Comic Arts Festival, a weeklong comics/graphic novel love-in capping off with a free two-day exhibition at the Toronto Reference Library. Although it would be impossible to capture the scope of this Hulk-sized event, Ajay shows us some of the seriously stellar artwork on display and chats with TCAF co-founder Peter Birkemoe, New Yorker illustrator Anita Kunz, and cartoonists Glyn Dillon and Gilbert Hernandez. If you’re in the Toronto area and missed this one, be bummed.

This article contains video, click here to watch online.

Microsoft has been not-so-subtly trying to win over Googlers since they launched Bing in 2009—that's why you've seen everyone from TV vampires and the teenagers who love them (on The Vampire Diaries) to the cops on Hawaii Five-0, to Peter Parker in The Amazing Spider-Man using the search engine. Microsoft even tried to get Bing written on to The Walking Dead—a show where, post-zombie-apocalypse, the internet, cell phone reception, and even electricity have become things of the past. Unless you write a line where a character talked about how much they missed their favourite search engine, it's pretty tricky to work Bing into the plot. “We pitched them last year where maybe the characters could find a library with a generator and do a Bing search,” said one of the company's marketing directors in an interview with The New York Times. They finally settled on a cross-promotional contest.

And cross-promotion seems to be a better way to go—can you imagine Captain Kirk Bing-ing "Who is Khan?" on the Enterprise's computer? Not so much, right? But if you wanted to, say, let the Klingon-speakers on your favourite Star Trek message board know that you think J.J. Abrams is a traitor to the Federation (j.j. abrams DIvI' maghwI') for throwing over Trek for Wars, you could. Just Bing it.

]]> http://www.space.ca/article/Bing-Klingon Corrina Allen 713d3077-21bb-438e-a2af-cac2a9070c50 Wed, 15 May 2013 11:02:00 GMT Corrina Allen

The one-and-only Jordan Gavaris paid a visit to InnerSpace RAW this week to chat about his role as Felix on Space’s recently renewed clone drama Orphan Black. With season one heading into its final, sure-to-be-insane episodes, Gavaris couldn’t leak any spoilers, but he did give some insider intel on what it was like to shoot episode seven’s wicked night club scene, Olivier’s totally freaky prosthetic tail (which Gavaris didn’t want to touch), and meeting Matt Frewer. And while he wouldn’t drop any solid details, Gavaris was more than happy to join in on the speculation about what the heck is up with Cosima and Delphine.

Click here to watch the most recent ep!

This article contains video, click here to watch online.

The one constant of Doctor Who is, in fact, change. There’s always that period of adjustment with the series; people lost their shit when David Tennant announced his departure and already “knew” they’d hate his replacement. Egg, meet face. So, naturally with the exit of Amy and Rory, people didn’t know how they’d greet the new companion.

We’ve shared theories on Clara but we haven’t given our overall impression of the spunky new companion. I can honestly say I instantly fell in love with her in “Asylum of the Daleks” (even though that would not technically be the same companion who would eventually travel to the Rings of Akhaten with Doctor). Clara is quick with the Doctor, sharp-tongued and sly with the Doctor, cunning, quirky and all that jazz with the Doctor... so why don’t I care as much as I think I should? She’s a great character and played wonderfully by Jenna Louise-Coleman, but aside from the mystery surrounding her, I’m actually not all that invested in her past or for that matter, what will happen to her after the mystery is solved.

Teddy and Ajay discuss the latest episode, “Nightmare in Silver,” in this week’s InnerSpace Raw where they touch base on Clara’s character.

This article contains video, click here to watch online.

*I started writing this blog before Teddy and Ajay even shot this latest edition of InnerSpace Raw – they pretty much nailed every point I was trying to make (and did it more eloquently than I ever could). They even compare Clara to Amy's character arc which is what I was hesitant to do.

While the film’s radical approach to narrative yields many striking juxtapositions—and there is no shortage of visual flourishes—Cloud Atlas is ultimately diminished by a relatively basic shortcoming: garden variety bad taste. From the cartoonish broad comedy of the Timothy Cavendish story to the earnest naïvete of the Luisa Rey story, Cloud Atlas privileges ideas over execution, a mistake in emphasis that similarly plagued the Wachowskis’ Matrix sequels. Even more problematic is the film’s excessive reliance on prosthetic makeup, awkwardly changing the age, gender, and even race of the actors. Like many of the film’s ideas, this makes thematic sense, but it also results in moments of clumsy embarrassment.

Those looking to push their home theatre to its limit should be pleased with the video and audio presentation on this Blu-ray. The only extra is a 55-minute documentary that is broken into seven parts, missing an obvious opportunity to mirror the film’s six-story structure. As a result of the film’s structural complexity, Warner Brothers has a hard time distilling it in documentary form. While each of these featurettes attempts to tackle a particular component of Cloud Atlas (the adaptation, the cast, etc.), the film’s emphasis on interconnectivity keeps bringing the doc back to a broader consideration of the film. This proves to be a little repetitive, but there’s no shortage of insight. It’s particularly intriguing to see Tykwer and the Wachowskis in conversation with Mitchell, a dialogue that results in the disc’s most illuminating observations.

]]> http://www.space.ca/article/BD-of-the-week-cloud-atlas Jonathan Doyle 94780979-e38d-4bcd-9ee1-436e167e2fab Tue, 14 May 2013 11:01:00 GMT Jonathan Doyle

This week The Nerdist boys turned their telescope on a theme we hold near and dear over here at Space: space! To help them explore this imponderable subject, the team sat down with former man-on-the-moon Buzz Aldrin, one of Matt’s boyhood heroes, and mohawked Martian Bobak Ferdowsi, a NASA scientist who helped land the Curiosity rover on Mars last summer. With Matt’s fanboy freakout under control, Chris led a discussion about the future of humanity, otherworldly hairstyles, and who has more Twitter followers. Turns out Aldrin’s tweets blast to almost a million earthlings—pretty good for an 83-year-old!

Ferdowsi and Aldrin then faced off in a round of Matt and Jonah’s totally-not-rigged new game, “It IS Rocket Science.” Aldrin nailed Matt’s questions about his own past guest appearance on The Simpsons and the title of his own new book, Mission to Mars, while MIT alum Ferdowsi struggled with Jonah’s more philosophical queries, including the head-scratcher “Why R pants?”

Post interviews, Matt and Jonah led a tour of their favourite space-related spots around Los Angeles. Or rather, Matt took us to check out the Griffith Observatory, the Planetary Society in Pasadena (where they hung out with Bill Nye!), and NASA’s Jet Propulsion Laboratory, while Jonah ends up tripping on Tang with a dude in a cheap astronaut costume outside a restaurant called Starfish Sushi. Typical.

The episode ended with a stand-up set by Maria Bamford, who didn’t joke about space but has decidedly beyond-human comedic skills. 

Click here to watch the whole episode from the comfort of your planet.  

This article contains video, click here to watch online.

There was no loosening Iron Man 3’s ironclad grip on the box office this weekend. Marvel’s superhero film clamped on to first for the second week in a row, despite facing what seemed like a contender in Baz Luhrmann’s The Great Gatsby. But Leonardo DiCaprio in the literary adaptation didn’t even come close to beating Robert Downey Jr.'sTony Stark, as Gatsby earned about $20,000,000 less than the threequel. (The real showdown will come this weekend when Iron Man 3 faces off against Star Trek Into Darkness.) Michael Bay’s Pain & Gain landed in third and barely beat out newcomer Tyler Perry Presents Peeples. Rounding out the pack was the Jackie Robinson biopic 42.

Iron Man 3 $72,472,000 (Total: $284,893,000

Though Iron Man 3 dropped 58% in sales, it still saw a record-high second weekend. The dip in tickets was on par with what Iron Man 2 saw and the threequel is set to match, if not best, the previous film’s haul.

The Great Gatsby $51,115,000

Though it didn’t manage to unseat Stark, The Great Gatsby did set a personal best for Baz Luhrmann: highest-grossing debut for the Australian director. That the film did so well isn’t that surprising, given both the star power of the cast and that the novel is one of the most widely read works of literature.

Pain & Gain $5,000,000 (Total: $41,608,000)

Still pumping iron and jacking its muscles at a theatre near you.

Tyler Perry Presents Peeples $4,850,000

Though Tyler Perry is one of the best-known names in contemporary cinema, his moniker didn’t help Tina Gordon Chism’s rom-com do any better at the box office.

42 $4,650,000 (Total: $84,732,000)

A truly nice film about a true American legend continued to swing away at the box office.

All figures via Box Office Mojo

“The fact that I can have a tail — millions of years after
we shed it — reminds me of what we can achieve.” – Olivier, Orphan Black

“Did you lie with a beast?” – Helena, Orphan Black

Outlaw Biology, Body Modification And Bio-Hacking
Pictures of underground culture of sub-dermal implants, branding, extreme piercings and scarification. (warning: graphic content!)
http://izismile.com/2012/06/30/going_deep_under_the_skin_body_modification_18_pics-1.html

Biopunk Manifesto
A speech delivered at the UCLA Center for Society and Genetics' symposium, "Outlaw Biology? Public Participation in the Age of Big Bio”
http://maradydd.livejournal.com/496085.html

Vestigial Human Tails
From the US National Library of Medicine
http://www.ncbi.nlm.nih.gov/pmc/articles/PMC3263034/?tool=pubmed

Own Your Own Tail!
http://io9.com/5979878/a-robotic-tail-that-lets-you-express-yourself-like-a-dog

“Who in the world am I? Ah, that's the great puzzle!”
- Alice, in Lewis Carroll’s Alice in Wonderland

Olivier’s tail isn’t real, is it?
No, it’s a prosthetic (but people have been born with actual tails – see the links in the Wet Lab & Library if you don’t believe us). Actor David Richmond-Peck not only had to wear a monstrous mechanical necklace that housed all the gears and wires that animated the tail, but he literally could not sit down for several hours while he was wearing the mighty memorable appendage. David had to stand or lie on his stomach, but he was a great sport about it. Wherever he went on set, he always had the biggest tail in the room.

OK, but what about the freeze branding at Club Neolution?
Yes, that is a real practice. Be it tattoos, piercings or stretched lobes, humans have been modifying their bodies for thousands of years in ancient traditions and rituals. Proponents of the practice believe that it strengthens the connections between mind, body and spirit. Contemporary body modification is being taken a step further by merging the body with technology — cameras in eyes, magnets in fingers, sensors under skin. Who knows, maybe there’s a real-life Olivier out there with an actual fake tail sewn onto his behind.

The Director, Brett Sullivan, is also the editor for episodes 1, 2, 8 and 10.
Brett also worked with Tatiana some 10 years ago on the set of Ginger Snaps: Unleashed, which is the sequel to the horror film Ginger Snaps, directed by series co-creator and director John Fawcett, and written by Karen Walton (writer of episodes 4 and 8).

Sarah and Helena’s diner scene
The music for this scene was added last, but once we found the music we knew the scene was perfect. Just before shooting, John suggested to Brett to let Tatiana 'play' and not to give her too much direction while playing Helena, because it's always best to see what ‘the monster’ brings to the table — and the monster certainly brought it.

Things we’ve seen Helena eat so far:
Half of a bran muffin, Jell-o with sugar, toast, cold chicken. And something in a bowl.

In the Belly of the Boat
Sometimes a boat is just a boat. But not in this case. The ship we see Helena in symbolizes a few things, the most obvious being water. What’s in water? Fish. And the only fish we see are on Helena’s blade and Tomas’s ring. The fish cult. The boat is also a subtle clue that Helena and Tomas came to North America by crossing the ocean. And while this may be a bit oblique, to the Hive writers we always thought that tons of cold, hard steel felt like a prison for Helena.

Although a real boat was used for exteriors, the interior was shot entirely on set. Our killer effects company made the ship’s interior look massive. And our master Director of Photography, Aaron Morton, made it look stunning. The fluorescent practical lights shape and reinforce the series’ visual motifs and themes.

Felix’s dance inspiration at Club Neolution?
Series co-creator and showrunner Graeme Manson suggested to Jordan Gavaris (Felix) that he watch Sting in Quadrophenia as inspiration. Sting’s character isn’t dancing with anyone — he’s dancing to be seen.
Watch Sting’s Quadrophenia here: http://www.youtube.com/watch?v=bi5IsOqLOi8

“Whoever our ‘creators’ are, they have a tremendous investment in us.
Our conception, our whole lives. Don't you think they'd protect us from Helena?”
– Cosima, Orphan Black science consultant

When the cards are down who can you really trust? The person closest to you? But what if it’s a case of keeping your friends close and your enemies closer? So where does this leave Sarah with Paul? With Cosima? Even Helena?

The return of Helena ushers in a magnitude of understanding that Sarah is wholly unprepared for. Helena is starved, literally and figuratively. She’s starved by a severely stunted worldview forced onto her by Tomas, by mental illness compounded and exploited by his abuse and mind control. But try as she might to obey her master and follow through on the slaughtering of “the sheep”, Helena’s own sense of curiosity and connection with Sarah is causing her to question everything.

Sarah is also forced with a reckoning of her own when she crosses the threshold of Club Neolution and falls down the rabbit hole. Club Neolution is just a nightclub of DIY body-altering enthusiasts. At least on the dance floor. But in the tunnels below, more sinister events unfold. Neolution, as Dr. Leekie so fervently pontificated in the previous episode, is an unyielding belief that technology will improve the human condition. So is that what the clones are ultimately all about? The next step in creating a better human?

Self-directed evolution, the nature vs. nurture debate, and body-modification philosophy all ask the same question: are we more than just our genes? Stephen Hawking calls having the ability, and the wherewithal, to change and improve our DNA as “self-designed evolution.” And that humanity controlling its evolution—its destiny—is inevitable.

Indeed, the human desire for control virtually defines humanity itself. It’s grotesquely manifest in Tomas nurturing Helena’s sick worldview, in Olivier’s surgically implanted tail, in Cosima slyly courting her monitor, in Paul playing Oliver, and of course in Sarah attempting to keep everything under control.

But Sarah’s lies are compounding on lies because it’s not in her nature (or is it nurture?) to trust—because trust is about relinquishing control. A foreign concept to hardened Sarah. But Sarah knows she’s made a mistake in not trusting Paul. He proves his loyalty to Sarah once and for all when he tells her to run. But Sarah doesn’t ‘do run’. Sarah has to help Paul because she’s the only one who can. This is a new driver for her—responsibility. Sarah is quickly, painfully, growing up through this mess, and with it comes a sense of fair play. And Sarah’s actions in this episode give her a deeper understanding of the two people she didn’t trust with her life, but both of who just saved her life—Paul and Helena.