Orphan Black series finale recap: 'To Right the Wrongs of Many' 

How did we get here already? Doesn’t it feel like the last 10 weeks went by so quickly?

After five seasons, countless clones, clones impersonating

clones, a twerking scene none of us will soon forget, a dance party to end all dance parties, lots of science drama and crazy conspiracies, and one of the best sisterhoods on television,

As far as finales go, this one did a pretty good job of toeing the line between closing up everyone’s stories but not spending the entire hour checking boxes for each and every character. Helena’s twins finally arrived in unorthodox, incredibly emotional fashion, P.T. Westmoreland was finally taken down, and then, we flashed ahead for what almost felt like another mini-episode — seeing what life was like for each of our sestras without Neolution encroaching on their lives.

Because this is the end and we love all the clones equally (yes, even Rachel), I won’t engage the Orphan Black Clone Status Hyper-Sequence Generator Calcutron. Instead, I want to take inspiration from this finale and discuss the episode in two parts — the big finale, and then the epilogue.

Are you ready, Clone Club? Great. Let’s get going.

We open this week in a flashback, as a younger Sarah waits outside a local Planned Parenthood, sitting in the car next to Mrs. S. Obviously, since Kira is alive and full of special clone-kid powers in the present day, we know she doesn’t terminate the pregnancy. But at this point in time, she’s considering keeping the baby and is looking to S for help making that choice. Is Sarah too “messed up,” in her words, to have a child? Her foster mother says this is a decision only she can make (while calling her “chicken,” which is a nickname I’ll miss — second only to Sarah lovingly calling Helena “meathead”).

In the present, there’s another impending birth to attend to — Helena is now fully in labor as alarms are sounding everywhere and security searches the place for her and Sarah. That search team includes Enger, until Art takes her down (“you’re a s—ty partner,” he says, dropping the understatement of the episode) and handcuffs her to a stairwell before continuing his own search for the pair.

Sarah brings her sister into a boiler room, and Helena pretty much has to stay put, even though it’s not the safest (or, let’s be honest, the most sanitary) place to be — especially because P.T. Westmoreland has now found out they’re on the run and flipped his bald, not-170-year-old lid. A very bloody but still living Coady tries to reassure him things can still go as planned but says they can extract the mutation from the babies’ cord blood now that their hideout has been compromised. The man is seriously agitated, shooting doctors who don’t agree with his orders. He’s thinking it’s about time to head back to a certain island.

Helena doesn’t want to have the babies here, for a million obvious reasons, but it doesn’t seem like she’ll have much of a choice, so Sarah sets out to get some clean sheets and supplies — but leaves Helena with a screwdriver so she can protect herself.

She runs into Art, who gives Sarah a gun and heads back to join Helena — but Coady finds her first, and is now looking to do a little childbirth-by-gunpoint. Yikes.

And when Art comes in, Coady makes him drop his weapon and “enlists” him to assist. “I learned my lesson getting too close to this one. You’re the midwife,” she orders. While she stays back, Helena manages to show Art she has a weapon. Faking a medical crisis, they convince Coady to come closer, and Helena jams the screwdriver into the other woman’s throat, finally taking her out for good.

As Helena battles Coady, Sarah takes on the true head of the Neolution snake. While searching for medical supplies, she’s cornered by P.T. Westmoreland lurking outside the plastic curtains of that makeshift operating suite. “How fitting you return to your cage. All lab rats do in the end,” he gloats.

But Sarah is not having any of it. “You never caged us — not me and Helena,” she points out. “You’ve got nothing to do with who we really are.” After P.T. reveals they found Helena, Sarah fires through the curtains, hits him, and escapes his attempt to tackle and suffocate her with the plastic sheeting. “I survived you — 

survived you. Me and my sisters, together. This is evolution,” she declares, before delivering a final blow to the head with an oxygen tank that seals his fate and takes them even closer to freedom.

She gets back to Helena just in time, and she and Art coach her through pushing as Sarah remembers S doing the same for her with Kira — it’s an incredibly emotional moment, overlapping instances of loved ones helping bring new family members into the world. With their help and encouragement, Helena gives birth to twin boys. Sarah’s in tears, Helena’s in tears, the babies are crying, we all might be crying. It’s a lot!

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