Dylan Bruce

Given the inconsistency of Orphan Black season three, it was easy to fear last week’s moving installment would be a blip in an otherwise unremarkable season. Thankfully, “Certain Agony of the Battlefield” builds on the strengths of its predecessor, continuing its character-based approach and efforts to tie as many threads as possible into the central narrative of the season, Project Castor’s conflict with Sarah and the rest of Clone Club.

After the underwhelming season three premiere, “Transitory Sacrifices of Crisis” is encouraging, moving what appears to be the crucial arc for the season, the introduction of Project Castor and the CastorClones, towards more interesting territory. While the two main CastorClones featured this week remain Bad Moustache Clone and Fauxhawk Clone, they’re given names and briefly, motivation. Seth (BMC) is sick, a short circuit in his brain causing searing pain and Rudy (FC) is protective of his brother, certain Seth will be put down if they return to base as they’ve been ordered. It’s not much, but this is far more characterization than Ari Millen has been given to work with either last season or in the season three premiere (aside from Creepy Cult Clone, Mark), and he does a surprising amount with these few beats. Seth and Rudy’s treatment of the woman they lure back to their hotel is appropriately creepy and traumatizing, a logical way to bring Art back into the fold, and making Sarah Manning the inspiration for Rudy’s decision to go off-book is a nice touch.

All season long, Orphan Black has focused on character moments and the tremendous and personal stakes for each of our leads. This week, the show hits that home even further as it, for the first time, threatens the heart of the series. We like Kira- she’s an adorable little moppet who’s smart enough to ward off the cops and intuitive enough to see through the clones’ impersonations. We like the Mrs. S, particularly when she’s getting her badass on, we like Art, and we definitely like Cal, but honestly, any one of these characters could go if the story demanded it. They’re entertaining, well-written, and ultimately, disposable. The one who isn’t, at least at this point, is Felix and this week, Rachel crosses a line when she goes after him.