The second season of Hannibal ended with Mizumono exactly as shown at the start of the season with a fight between Hannibal and Jack Crawford. The fight scene, which left four characters potentially bleeding to death, lasted eighteen minutes. It was preceded by a set up to attempt to make sense out of Jack being in Hannibal’s home with no back up, along with plenty of dialog to raise questions about Will’s exact intentions.
Jack had intended to have people with guns pointing in every window when he accepted Hannibal dinner invitation, but Kade Purnell shut down his plan as entrapment. This left Jack with the choice of going in alone versus giving up on the plan. While I found it a little unrealistic when Jack went after Chilton alone earlier in the season, this provides some consistency with Jack deciding to go after Hannibal alone as opposed to giving up in the finale.
Jack summed up Will’s position in telling him, “Hannibal thinks you are his man. I think you are mine.” Except that Hannibal noticed the scent of Freddie Lounds on Will (an ability in Hannibal which we accept without question), tipping him off that she was still alive and that Will was deceiving him. In the end Will did call Hannibal to warn him, but was it because deep down he wanted Hannibal to escape or did he hope this would lead to Hannibal leaving before dinner, keeping Jack out of danger?
Freddie Lounds was one of three characters this season who appeared to be dead but turned out to be alive. This happened with Miriam Lass earlier this season and again with the unexpected appearance of Abigail in the finale. I imagine that this might have been predicted by her mention in a recent episode but the discussion seemed so natural that it did not raise suspicions. When I first saw her alive I wondered if the episode would end with Hannibal fleeing with Abigail, and this was originally considered by the writers, but instead we got an apparent on screen death for Abigail with Hannibal later flying off with Dr. Bedelia Du Maurier an a Marvel movie like final scene.
While the second season of Hannibal overall was excellent, there were some things happening off screen which ideally should have been shown. After Jack was first convinced that Will and then Chilton was the Chesapeake Ripper, we never did see how he was convinced to believe Will and set up a situation to trap Hannibal. It was necessary to keep the fact that Will was working with Jack to lead up to the surprise that Freddie was still alive, but a flashback might have been helpful at that point. Similarly, while we would expect to Alana to drop her suspicions about Will once seeing Freddie alive, it would have taken more to convince her that Hannibal was guilty. I also hope we get a good explanation as to why Dr. Du Maurier was with Hannibal in the final scene.
The next season will be dramatically different from the first two seasons. Going into the finale one question was whether next season would begin with Hannibal on the run versus Hannibal on trial. That much was answered. We don’t know the fate of Will, Jack, Alana, or Abigail, who I have listed in order of my guess as to likelihood of survival.
Bryan Fuller gave some clues as to these questions and where the next season is going in interviews. First from TV Guide (as usual, selected questions only from each of these interviews):
And yet, it seemed that Will tried to warn Hannibal that Jack was coming. Had Will truly betrayed Hannibal?
Fuller: Honestly, Will did not know what he was going to do next in terms of who he was going to betray and who he was going to save. I think he could see a world in which he allowed Hannibal to get away, and there’s a world where he could see him incarcerated. When Will calls Hannibal to say, “They know,” part of it was to bring the series full circle back to that very first episode and create moments to parallel that. But also for Will, it could mean two things, [which] we won’t really understand with absolute clarity until Season 3. On one level, it could be exactly as it appears with him calling his friend and warning him that trouble’s coming. Or it could be Will calling and telling Hannibal, “They know,” because he wants Hannibal to get out of there before Jack arrives because he’s worried about Jack’s safety. We really wanted to embrace the idea that the audience should not know at this stage what Will Graham’s intentions are because we have a few more punches to be pulled — and not pulled — in Season 3.
The first huge shock in the episode is the reveal that Abigail is still alive!
Fuller: Originally, we were going to have Hannibal flying away with Abigail Hobbs. When we started talking about it, we said, “Oh, gosh, we brought Miriam back and we’re brining Dr. Chilton back — does that seem like too much?” So we just thought, “Well, let’s just bring her back and kill her on-screen!” [Laughs]
Is this truly the end of the relationship between them? Will does see the stag die…
Fuller: The stag always represented the connection between Will Graham and Hannibal Lecter. He started seeing the stag after he was first exposed to Hannibal’s murder of Cassie Boyle impaled on the stag head in the field. It felt like, at that moment, the relationship that they had has died. Whatever comes next between them will be a fresh new hell. … In any relationship, when you throw a fit and end a relationship in dramatic fashion, later you might be going, “Oh, I do sort of miss them.” [Laughs] The obsession is going to always work both ways between these two gentlemen.
That’s assuming that Will survives!
Fuller: We are staying very true to in the incident in the novel with Will and Hannibal and it’s very basic outcome.
What about the others? Will they make it as well?
Fuller: There’s going to be an impact from what’s happened here. It’s safe to say that not everybody survives. Everyone that’s laying their breathing could be breathing their last breaths. It doesn’t go well for all of them.
Meanwhile Hannibal escapes to France … with Dr. Du Maurier! Has she been in on this the whole time?
Fuller: The answers to exactly why Bedelia Du Maurier is on a plane to France with Hannibal Lecter is all part of the first episode of Season 3, which will essentially function as a new pilot for a new series because everything’s different.
Will we be seeing much more of Bedelia next season now that Gillian Anderson’s other NBC show was canceled?
Fuller: She’s a very busy lady. But if I had my druthers, she’d be a series regular in Season 3.
You said next season will be different. Does that mean you’re shifting the point of view to be more squarely about Hannibal?
Fuller: Season 3 is going to be a lot of fun because it’s going to be taking a lot of disparate elements from the novel Hannibal Rising and the novel Hannibal and mashing them up together as part of the thrust of the season. It’s going to be fun to bastardize two novels into one sort of Frankenstein season. I will brace everybody right now: We’re significantly changing the Hannibal origin story from Hannibal Rising.
You originally had mapped out certain seasons to follow certain books. Is that still your plan, or have you abandoned that timeline?
Fuller: The books won’t necessarily be in sequential order. We’ll be hitting elements of each of them except Silence of the Lambs in the next season. My hope is that not only do we have a completely different Hannibal Lecter story in Season 3, but we will meet some of those great characters like Francis Dolarhyde and Lady Murasaki and weave them into the world in a unique way.
What parts of the structure will change the most? The setting? The case-of-the-week format?
Fuller: The basic structure revolving around the FBI will be less prominent in Season 3 — at least for the first half of the season.
That doesn’t sound good for Jack’s survival! And Laurence Fishburne does recur on a new ABC sitcom.
Fuller: Laurence is also a very busy man. One of the wonders of this season is: Will Alana survive and will Jack Crawford survive? Will Abigail Hobbs survive? Those are things that are going to be revealed very slowly at the beginning of Season 3.
So, when you said before that somebody doesn’t make it, you were including Abigail in that? I assumed she was already gone.
Fuller: I’m speaking of everybody in that house that was dying. And it doesn’t just mean that only one person could be dead.
It does sound from this that most likely Will does survive and Abigail does not, with the fate of Jack and Alana more uncertain. Many similar questions were addressed in the weekly interview with AV Club, plus there was discussion regarding the surprise return of Abigail:
AVC: Are we supposed to believe that what Beverly saw in Hannibal’s basement that shocked her so much was Abigail?
BF: That was the idea that we had always talked about. Did she see this poor girl down in the basement, and was like, oh my God, he’s been holding her captive like an animal this entire time, and she turns around in a rage of “you monster!”? That was something we had talked about. What exactly did Beverly see? In my mind it was always Abigail Hobbs down there in some way, caught with her hand in the candy jar. That felt like it was the genuine surprise.
And also, we didn’t know, because we cut away, and we see the bullet go through the ceiling of the basement into the dining room, we didn’t necessarily know: Was that a dogpile on Beverly Katz with both Abigail and Hannibal? Although, I don’t think Abigail would have attacked Beverly in that moment. I think she was very reluctant to attack Alana, which is why she was so confused and upset when Will finally sees her, because she’s like, “This is not the plan that we had discussed.”
AVC: There’s a lot information that’s being withheld from the audience this season. Were you, as writers, discussing that this is what Hannibal is doing with Abigail, this is what Will is talking about with Jack?
BF: Yes, absolutely. I think in those scenes, we wanted to make sure that there was someone present that couldn’t know the entire story in some way, so it made sense for the characters to not discuss certain aspects. And with Abigail and her resurfacing, there is something very intentional in all of the rebirthing—fatherhood thematics of eight and nine and 10 and 11 that were really all about setting up the Abigail reveal. We wanted to remind the audience of these paternal feelings that Will had for Abigail. We wanted to remind them of her place in the story, so when she steps out of the shadows, it feels like we prepared them for that eventuality and weren’t withholding all of the information. Because I felt like if we hadn’t reminded the audience of Abigail and her importance to Will Graham and she just stepped out of the shadows without any of that parenthood thematic exploration, then I felt like we would have been inappropriately withholding from the audience.
Later the discussion turned to Freddie Lounds and Bedelia:
AVC: This episode is almost heartbreaking in a way when the Hannibal and Will relationship finally ruptures at the end. How did you get that balance—of having these genuine emotional moments amid all the carnage—right ?
BF: For me, when Hannibal smells Freddie Lounds on Will Graham and realizes he’s been duped, the heartbreak of that is one thing. You see him sort of go quiet and interior after he gets a whiff of Freddie, and then that dinner scene afterward, where he essentially is telling Will, his best friend in the world that he has ever had, “I will forgive you if you come clean right now. All will be forgiven.” And Will doesn’t take it. Will continues to move forward with his betrayal, and it’s a very quiet, solemn, sad scene for me, watching Hannibal. And I did empathize with him, because regardless of what he’s done as a monster, we all relate to the intensity of a friendship that feels so unique, and when that falls apart, it is heartbreaking. Because that someone who once had the ability to understand you and accept you was all a falsehood is devastating. So I felt like we were doing our jobs and making it feel appropriately impactful for Hannibal to suffer this loss.
AVC: What did you see as Bedelia’s role in the story of the finale and the season as a whole?
BF: For me it was an interesting way to have this woman—who I would argue is the most intelligent person on the show—and she was the one who figured things out without the overwhelming evidence that Will Graham had. She was smart enough to get the hell out of Dodge, and then got scooped up by Jack Crawford later on, and when she’s telling him that Hannibal is in control of this situation, I think what is happening there is she really is actually embracing her awe of this man, who is unlike any other that she’s encountered as a specialist in the psychology of humankind.
That is part of her role in season three is what does she expect to be getting out of this situation that continues to keep her intelligent and not just a dummy that is going along with the sexy, serial killer for reasons that are carnal. That’s not what we want. This is an opportunity, actually, for her to study something so wholly unique in the lexicon of humanity out in the wild. Out in its natural environment. So I think those first episodes of season three will go a long way in rationalizing and explaining exactly what Bedelia wants and expects out of the situation and how she’s going to continue to be as smart, if not smarter, than Hannibal Lecter.
AVC: Where are you in the process on season three? With Hannibal and Bedelia escaping to Europe, are there any chances to film there?
BF: We are absolutely exploring it. That was one of the things that I said was very important to me. If we have to even get a unit that shoots somewhere abroad for exteriors to help us sell the Silence On The Lam through-line of season three. So yes, our plan is right now to shoot abroad anywhere from three to five weeks to help create that world of them on the run in a different environment, in a different country and right now we’re looking at what our tax incentives are in various countries to be able to pull that off.
So you were thrown by the Bedelia reveal?
AVC: You know, a little bit. I was trying to figure out who would be sitting next to Hannibal, and then, oh, it was Bedelia.
BF: Well, our original intention was for it to be Abigail sitting next to him. And then it felt like, with where we were going in the story with all of the parenthood thematics, that if Hannibal had plotted this escape for all three of them, and then Will had betrayed him, it’s basically like a violent breakup: This is where we were going, but you screwed it up, so I’m going to make sure that all of the happiness that was planned for us can never happen, because you betrayed me. And it is such a brutal, spiteful, vengeful, vicious act to spare this girl’s life, and then, everything that she meant to Hannibal was so intrinsically tied to Will Graham that he just had to raze the Earth of their relationship. Unfortunately, that included poor Abigail.
In an interview with IGN, Bryan Fuller did reveal that the first episode of season three will deal with Hannibal and Bedelia and we won’t know who survived the finale until the second episode. Fuller also spoke more on how his show is varying from the books it is based upon, and how he is condensing his planned seven season arc down to six.
IGN: Then of course, the Vergers were a big part of the second half of this season. We did get an ending to their story for now, but obviously anyone who knows the books and the mythos will be wondering when that might percolate back up. And that’s one of those things where it feels like it could be a couple of seasons from now, or it could be sooner.
Fuller: I would love to continue telling the Vergers’ story in Season 3, because we shifted the paradigm significantly from the books, in that, in the books, when Hannibal is fingered, as it were, he’s caught. He guts Will with a linoleum knife — which is exactly why the knife that we had him gut Will with is in the television show — and as he’s leaving, he’s caught. So he goes right into incarceration. We don’t have the fugitive stage. So, in, in some ways, we are doing the novel Hannibal mashed up with the novel Hannibal Rising for a big chunk of season 3.
IGN: As far as the long-term of the show, I’ve spoken to you in the past about your broader ideas for seven seasons, and where they might be as far as each of the books are concerned. Is that still in place in your mind, as the ideal?
Fuller: Well, as we’ve gotten further into this series, I’ve collapsed a couple of seasons in my mind now. As in, “I don’t think we would be able to sustain the 13 episodes for that arc that I thought we would have” and “perhaps it’s better to collapse this season and this season into one.” So, I’m really thinking a six-season arc, and that really keeps us from treading water.
IGN: As far as I know – and correct me if I’m wrong – but nothing’s really changed as far as the legal entanglements with Silence of the Lambs and those characters being at another studio, as we get a bit closer to that time period. Though you likely still have a couple of years, have you thought more about what you would do in place of Clarice Starling?
Fuller: Well, I think it would just be we would introduce a character that would probably be “Schmarice Schmarling” and do something very similar – that is a character in the FBI going through the trials and tribulations that we saw Clarice Starling go through. She probably wouldn’t be dealing with Buffalo Bill, but it would be someone as devastatingly creepy and hypnotic in their evil.
IGN: Schmuffalo Phil.
Fuller: Yeah, Schmuffalo Phil. [Laughs]
Hugh Dancy (Will Graham), in an interview with The Daily Beast, did confirm that he will be returning and Laurence Fishburne (Jack Crawford) will be back depending upon availability as he is involved in other projects next season. He also speculates that, with Hannibal on the run as at the end of Silence of the Lambs, the next season could involve both the FBI and people working for Mason Verger chasing after him. He also discussed the strange standards of network television where graphic violence can be shown but not nudity:
It is pretty nuts that you can show a guy getting sliced open but can’t show a hint of nudity.
My feeling at this point, and I think this is actually true, is that there are body parts—particularly female ones—that you can never show on TV, but if you show a corpse where those particular parts had been cut off, then that would be all right. Now that is mind-boggling to me.
Hannibal showed us where the season was heading in the first episode of the season. The first episode of The Americans began with the killing of Emmett and Leanne, but we didn’t know for certain where they were heading until major events of the season were tied together in the final moments of Echo. As we were no closer to discovering the identity of the killer last week, I had assumed that it would have to be a character we already knew, but never suspected that it would be Jared. That was far more satisfying than ending with a revelation that Larrick was lying in his previous denial.
We knew from the start that the season would be about family, with the death of Emmett and Leanne causing Philip and Elizabeth to consider the danger that their own children were placed in. They did not discover until the finale that the danger could be coming from the Russians they worked for. Supporting Communism in the abstract is one thing, but different when hearing from Claudia, “Paige is your daughter, but she’s not just yours. She belongs to the cause.”
Hannibal had to have some action take place off screen for the surprise that Jack and Will had faked Freddie Lounds’ death to work. Similarly, key events which occurred this season on The Americans were not revealed until Jared’s confession as he was dying. While his recruitment by Kate was off screen, we have seen enough of how Elizabeth works to easily imagine Kate seducing him, with Jared’s loyalty more likely to her than to the Communist cause, despite hearing Jared claim “it’s for something greater than ourselves.” The second big reveal, which by now was no surprise as it made perfect sense out of Paige’s storyline, was that she was the one who the Russians wanted to recruit next as a second generation spy, better able to fool the Americans and allow her to infiltrate deeper than plants such as Elizabeth and Philip ever could.
This leads to one of the big questions for the third season. While the immediate reaction was to protect Paige from becoming involved, the second season has shown that she just might make a good spy. She has also shown a need to do something great. Her protests against American policies might lead her to accept her parents’ views, although such protest (contrary to the views of many on the right) do not necessarily indicate a willingness to betray this country. Recruiting Paige as a spy could bring some satisfaction to her parents, who were frustrated by Paige’s respect for the church protests which were so insignificant compared to what they do. As Elizabeth pointed out, “She does need something. She’s looking for something in her life. What if this is it?” Phillip didn’t go along, fearing, “It would destroy her,” Elizabeth countered by asking, “To be like us?” Next season could be about Paige becoming more like them, or it could be about fighting the Russians to protect their daughter.
The second season of The Americans, along with Hannibal, rank amount the best-written television of all time. This includes not only how everything was so well tied together in the finale, but how well they handled the teenage daughter (often a weak point in may series) along with secondary characters, especially Stan and Nina. We could not be certain as to whether Stan would betray his country to save Nina until the end. His subconscious would not allow him to change from the comic book FBI hero he had envisioned himself as in a conversation with Henry Jennings to the man who betrayed his country. This was partially conveyed in a dream sequence which also showed that his subconscious mind realized that Martha was taking documents, although this was behind his back in the dream. Philip found that he must be more careful around Martha now that she has a gun. It might be unrealistic for Nina to survive, but we have already seen one suspected mole (framed by Nina on Stan’s instructions) be spared, and Oleg’s family connections, or that big envelope of money Oleg gave her, might be of value.
Vulture spoke about the finale with Joe Weisberg and Joel Fields:
How long have you had this idea of second-generation KGB spies in your back pocket? Have you always known you were going to make it a part of the story?
Weisberg: There were a couple different pieces to it. When we broke the story of that other [spy] family getting killed, we very quickly and immediately knew we wanted it to be their own son who did it. Thematically in so many ways it fit with the rest of our story. That came very early in the season, the idea that we wanted Jared’s motivation to be that he was being developed as a second-generation illegal [against his parents’ wishes]. It was a little bit later that we linked it to The Center wanting to recruit Paige, but all of this was brewed out of an actual history of the KGB being interested in having their kids be second-generation illegals. There are a couple of actual historical precedents of that that we worked from.
Fields: We’re lucky, in that we have child actors who can handle anything.
In response to other questions they addressed issues such as whether the dream sequence really means that Stan subconsciously knows what Martha is doing, and whether Nina and Claudia will return next season:
Having said that, we very clearly see Martha taking files. Does that mean that somewhere in Stan’s subconscious he senses something going on with Martha?
Weisberg: His subconscious knows! His subconscious knows! Everybody’s keeps saying, he’s such a good detective, and now that he’s in love he’s being a lousy detective. But that side of him doesn’t totally get turned off just because he’s in love.
Nina has been our main link to the Rezidentura, and presumably she is on her way to stand trial. Do we continue to follow her even if her story takes her to Russia? The story of Anton and Vasili took place there, so I’m assuming it’s not out of the question.
Weisberg: We are deeply invested in her story, and very interested in that character and what her future holds. Most of what you just said about her future does — that car seems to be heading to the airport!
Fields: That car is headed to the airport and we’re not done with her story.
It was great seeing Margo Martindale back for the finale. What kind of arrangement have you worked out with her going forward? Have you locked her down for a specific number of episodes?
Fields: We haven’t been that specific, but [The Millers executive producer] Greg Garcia, CBS, and Leslie Moonves were extremely generous this year. We hope they’ll continue to be. We love that character and we love Margo. We definitely want her back.
There was discussion on the second season and finale with TV Guide:
Phillip has already threatened the Rezidentura to stay away from Paige. The Americans started off with him considering leaving the KGB. Could this be the catalyst for him to once again consider that?
Weisberg: We don’t want to tip what’s going to come, so I’m going to say that there are so many potential and possible extreme and intense emotional reactions to that storyline. Honestly, I don’t think we even know what they all could be.
Fields: I would just add that during the first season the show explored the sense of a fake marriage and how the people in the fake marriage were coming to terms with whether or not they wanted to have a real marriage. The second season has really been about how they chose a real marriage and dealing with family together. Going forward now, there’s an opportunity to explore what happens when there is genuine conflict between individuals who are truly married and want to be married. That’s a very universal story. As often is the case on this show, the stakes are much, much higher than they are for the average married person.
You’ve been building up to Paige really fighting for what she believes in, to the point where she often got annoying this season. Thank you for even having Phillip mention that he wanted to punch her in the face. Was this all so she could feasibly accept her parents being spies?
Fields: Anything is possible.
Weisberg: Yeah, from the end of the first season in that laundry room scene, that was going to be a big part of the story moving forward with her getting more suspicious of them and questioning them. She has a combination of angst and anger at her parents that any teenager has, but with this very unusual twist that the secret that her parents are keeping from her is a one-in-a-billion secret, which she has no way of knowing. Where that’s going to go next season, [will we] take the further steps of her getting closer to the truth, or will [Philip and Elizabeth] get out of it? That’s now up for grabs in a way that we think is very exciting.
Over the last two seasons, the enemy has been an outside force, like the FBI or Larrick this season. Will next season be more about the inside force of the Rezidentura since they want Paige?
Weisberg: Our way of looking at it is there has usually been both. There’s also been inside conflict in the marriage and the threat that you can bring the walls down by yourself in so many different ways, like when they split up in that first season. The relationship between internal and external threats is one of the interesting things in the life of spies.
The FBI seemed to get a little bit closer this season. How long can you feasibly keep them from discovering the truth about Phillip and Elizabeth?
Weisberg: Well, they’re pretty well-hidden, so how could they possibly be found? That’s part of the genius of an illegal. They’re hidden in plain sight. There’s no reason to even look at them.
What challenges lie ahead for Phillip in this balancing act that he has with Martha (Allison Wright)?
Weisberg: Now he has to not get shot by her. That’s new. It’s always scary when your wife gets a gun, but when you’re playing a long con on her, it’s really bad news. I’m a lot more worried about him now. It does seem like things have gotten a little harder for him to manage.
Nina (Annet Mahendru) was on the way to being taken back to Russia, but Oleg (Costa Ronin) had given her money, leaving open the possibility that she could escape. Is that a possibility? Are we going to see what ended up happening to her?
Fields: We’re not letting go of Nina’s story. She’s really become an important part of the show. We will see what’s going to happen to her.
Weisberg: I think that was a very wordy yes. [Laughs]
There’s far more at AV Club, including this background on women in a position such as Martha who were fooled into marrying a Russian spy in order to get information:
AVC: Of all the characters on the show, she’s the one that’s treated the most poorly by Philip and Elizabeth. How far can you push that, without them pushing too far and making them too horrible to consider?
JW: [Laughs.] That’s a good question. If they haven’t crossed that line yet, I wonder if it’s crossable. I’m sure, Todd, I’ve probably said this to you. I’m positive I’ve said it to you a couple times. I may have said it to you a hundred times, but this is based on real cases where illegals married unsuspecting women. I think there’s three reported cases where we know about what happened at the end, when the truth finally came out, in each of these three cases after many years of marriage. In one of the cases, the woman absolutely refused to believe it. Even when the police were presenting her with irrefutable evidence, she was in denial. There was nothing you could say; she just never believed it. In another case, the woman got up from her chair, walked over to a window and jumped out the window. Just immediately killed herself within five seconds of being told. And in another case, the woman hung herself an hour later. So you have two out of three suicides. I’m not suggesting that’s where our story is going because who knows where our story will go. But how horrible what they’re doing is, to me, it’s already at peak horror. I don’t know. What twist could it take to get any worse?
It was inevitable that the season finales of such excellent shows as Hannibal and The Americans would dominate discussion this week, and there is also at least one science fiction show currently running which is of comparable quality. Ipsa Scientia Potestas once again answered some questions on Orphan Black but raised others. The episode began with singing a mangled version of Sugar, Sugar and some seestra bonding. Unfortunately Sarah later left Helena alone, leading her to going into a bar, getting some action, getting into a fight, and ultimately going home with a different sister (in this case Gracie). It was also amusing to see Paul and Mark easily agree that each would take the clone they came for as opposed to the representatives of opposing factions battling it out between them. Besides, Paul has his own agenda, leaving him with no great desire to do more than what he is being ordered to do by his blackmailer.
Meanwhile Alison was having a tough time in rehab, and once again did a poor job of realizing it when someone (in this case Sarah’s old boyfriend Vic) is there to spy on her. Cosima was reunited with Scott, who knows that there are clones, but not that Cosima is one of them. Scott told Delphine that the stem cells are coming from a female relative, presumably Kira, with Delphine deciding it would be best to withhold this information from Cosima. So many secrets on this show.
Sarah made the big discovery of the week, meeting Rachel’s adoptive father Duncan. His story casts doubt on last week’s suggestion that maybe Leekie is a good guy after all. He also revealed that “we weren’t the only implant team.” There might be more clones, but could they ever find another actress who could do as great a job as Tatiana Maslany at portraying several of them? Mrs. S went outside to either blackmail or plot a new alliance with Paul, telling him that Dyad is a hydra. Calling agent Coulson?