‘Orphan Black: Echoes’ mirrors a television industry desperate to reclaim its glory days

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As a longtime television critic and someone who has covered the industry for over two decades, I’ve had the privilege of witnessing its transformative evolution firsthand. And among the many shows that have left an indelible mark on me, “Orphan Black” stands out as one of the most groundbreaking and underappreciated series in recent memory.

This article contains spoilers for the first episode of “Orphan Black: Echoes.”

At times, a fresh television series can showcase the boundless creativity of the medium. Other times, it may expose its challenges.

As a big fan of “Orphan Black: Echoes,” I’d describe it as a faint yet resonant echo of a past masterpiece. In numerous aspects, this series reflects the current TV landscape, striving to recapture the brilliance that once defined the medium.

“Echoes” isn’t a criticism if it stood alone. It is an engaging exploration of the risks involved with life-replicating technology, drawing heavily from “Frankenstein,” and the science-fiction genre that delves into the regret of scientific discoveries.

In the premiere episode broadcasted on AMC on Sunday, Lucy (Krysten Ritter), finding herself on a living room sofa, is gently quizzed by a woman in a white coat, Keeley Hawes, about her memory loss. However, when it becomes evident that Lucy cannot recall any past events whatsoever, the situation grows tense.

In due time, Lucy escapes from the living room, but to her surprise, finds herself in a large warehouse filled with unusual scientific apparatus: odd X-ray machines, spinning fans, and a container holding half-formed human tissue in pink goo. Suddenly, a scientist emerges and explains gently that she is not just in a living room, but rather the product of advanced technology – a living, breathing creation made from human tissue.

The true identity of the scientist (Keeley Hawes) who greets Lucy in “Orphan Black: Echoes” is revealed at the end of the first episode.
(Sophie Giraud / AMC)

In the style of a modern-day Frankenstein’s creature, Lucy escapes and builds a secluded existence with her loving partner Avan Jogia and his enchanting deaf daughter Zariella Langford-Haughton. However, due to her elusive nature, there are those who are actively searching for her. Although her inventor reassures everyone that she is not aggressive, some remain skeptical.

Instead of villagers armed with pitchforks, Lucy faces off against those trying to send her back to the lab or eliminate her, providing an opportunity for Ritter to display her “Jessica Jones” combat abilities. In her quest to identify her creator, Lucy encounters a younger version of herself named Jules (Amanda Fix). Realizing she’s not the only one with a consciousness and the ability to speak, Lucy comes to terms with her unique existence.

At the end of the hour, while making a call to her aunt Cosima, Hawes’ hidden identity as Kira, the main character in “Orphan Black,” is unveiled. To emphasize this revelation, the camera glides over Kira’s desk, displaying photographs of Cosima (Tatiana Maslany), her mother Sarah (also Maslany), Felix (Jordan Gavaris), and Mrs. S (Maria Doyle Kennedy).

The new show, “Echoes,” falls short in comparison to “Orphan Black.” Despite being produced by the same networks, AMC and BBC America, it fails to live up to the excitement and unique tone of “Orphan Black.” Instead of sharing the same lightheartedness, “Echoes” is more somber and serious.

Jules (Amanda Fix) is a younger version of Lucy (Krysten Ritter).
(Sophie Giraud / AMC)

The show takes an earnest approach despite the amusing twist of its protagonist, who’s the offspring of a clone, entering the field of human replication. The series seemingly avoids exploring this irony and instead focuses on gravity and solemnity, with Felix appearing in a disappointing aging disguise but failing to inject the quirkiness and humor that were his defining traits in the earlier version.

Paraphrasing: Anna Fishko, the creator behind “Echoes,” has made it known that she aims to differentiate this production from its predecessor. However, her approaches have left the storyline adrift in uncharted waters. Kira’s persona becomes a diversion rather than the central focus, while audiences yearn for Cosima and the entire clan of clone sisters who were previously captivating.

It’s more significant that nobody finds the situation amusing despite its absurdity. The only person permitted to enjoy herself is Jules, yet even she is restricted to expressing adolescent frustration.

In the “Orphan Black: Echoes” episode, Ritter and Hawes deliver impressive performances. The story explores the depths one can be pushed to due to grief, showcasing a compelling subplot. Regrettably, its greatest strength lies in bringing back memories of how exceptional and undervalued the “Orphan Black” series was, leaving us pondering the current state of television.

In 2013, Maslany captivated audiences with her portrayal of a growing number of distinct, desperate clone characters, each questioning their origin and identifying their would-be assassins.

At this point in time, television was experiencing a boom with an influx of new platforms and scripted series that captivated audiences to an extreme degree. AMC continued basking in the success of “Mad Men” and “Breaking Bad,” while “Orange Is the New Black” and “The Blacklist” were fresh on the scene, and “Downton Abbey” and “Game of Thrones” were gaining momentum. Netflix made its entrance with “House of Cards,” and Amazon Prime Video started experimenting with “Alpha House.” The challenges of having too much quality television, known as “Peak TV,” were yet to come.

“Orphan Black,” a thought-provoking sci-fi show brought to life by Graeme Manson and John Fawcett, subtly stood out among its peers. The storyline didn’t revolutionize reality but delicately altered it, enabling a profound exploration of contemporary societal fissures – the clash between science and faith, wealth and poverty, self and community. This intriguing series posed the fundamental query that all compelling art does: What truly defines us?

The clones exhibited significant differences among them, proving that even identical individuals can have distinct personalities. Alison, once a meticulously controlled soccer mom, Sarah with a past as a street-wise foster kid, Cosima, a brilliant scientist, and Helena, an unstable assassin, grappled with ethical dilemmas and faced malicious adversaries. Despite the moral quandaries, their unique traits made for an entertaining watch.

Maslany’s remarkable achievement, supported by the writers and the entire cast, left both professional critics and avid viewers in awe. This led to an enthusiastic fanbase, known as #CloneClub, being formed.

Despite the increasing noise and innovation on TV, “Orphan Black” didn’t quite reach the recognition it merited.

I was thrilled when Tatiana Maslany earned an Emmy award in 2016 for her exceptional acting skills. However, it was disappointing that none of the writers, supporting actors, or the show itself received similar recognition. This outcome had less to do with the quality of the show and more to do with the current state of the industry.

In simpler terms, “Orphan Black” didn’t become a dominant topic in popular culture discussions like “Mad Men” or “House of Cards,” despite having a dedicated fan base.

Maybe it was too out-there or focused on women, or Canadian in origin, making it a challenging proposition back then. Regardless, “Orphan Black” primarily gained popularity through word of mouth and deserves recognition as a significant contribution to TV’s current era of excellence.

Maybe “Echoes” falls under the current trend in TV, referred to as the Repurposing Age, where established shows are bought and reused, either by selling off individual elements or completely remaking them.

In a similar vein, television production now favors recreating past successes over creating new content. This approach yields a steady flow of spin-offs, prequels, and revivals. Not all attempts hit the mark – “Better Call Saul,” “Young Sheldon” excel, while others miss the mark – “Rings of Power,” “And Just Like That,” and some fall in between, like “House of the Dragon.”

In my perspective, these regenerative shows collectively show an industry striving to recapture or hold onto the brilliance of the past without truly grasping what made it shine. The 21st century saw television emerge as a leading art form due to new and reimagined platforms that were prepared to invest significantly, take chances, and challenge established norms.

As a cinema enthusiast, I’ve noticed that the golden age of television seems like a distant memory with the influx of Peak TV and an overwhelming number of streaming services vying for our attention. The financial strain this creates makes it challenging to maintain the same level of visual richness and innovative storytelling as before. Rehashing old ground may provide temporary success, but true originality fades when we continue to mine already-explored territory.

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2024-07-18 20:00