Hey Clone Club, the first second-season scene of "Orphan Black" was shown at press tour, and I think it's safe to say that the pressure is not letting up on Sarah and the rest of the clones as their story continues. First, a recap of the scene, then we'll get into what Tatiana Maslany, Jordan Gavaris and co-creator Graeme Manson had to say (and after press tour, I'll be writing up my own one-on-one interviews with Manson and Gavaris, which hint at some big picture shifts ahead). Hold on to your hats. It's gonna be a bumpy ride when the show returns Sat. April 19 at 9:00 p.m. on BBC America. 

Interestingly, a BBC America executive made a point of referring to Kira's disappearance as an "apparent kidnapping." As we know, we're still not sure what's really going on with Mrs. S., but we do know she's coming back to the show. But everything else is, like so much on "Orphan Black," an enticing question mark. 
 
[This is a recap of the first scene of season two. If you don't want to know, just skip ahead to the next bracketed section in bold]
 
Then, after a montage of greatest hits from season one, we launch into the new scene. We see Sarah, having just discovered Kira and Mrs. S missing, running down the street in the rain, then pulling out her phone to call one of her many lifelines. Felix isn't home, so she leaves a message telling him that "they took Kira and Mrs. S." Next she walks into an empty diner, where the guy behind the counter offers her coffee (she requests tea instead). It should be a moment of solace, but no dice. As she tries to reach Alison, the man behind the counter gives her her tea, tells her it's on the house, and hands her a beaten-up, old photo of what might be Mrs. S. (though that's just a guess) and a man, both in lab coats. On the back, it says Project Leda, 1977. 
 
Sarah calls Paul, but Rachel answers the phone. She suggests Sarah "simply surrender herself," then hangs up on Sarah as she yells at her. We see Rachel standing in her office with Paul next to her, looking defeated.
 
If all of that's not enough for Sarah to worry about, two creepy guys walk into the diner (one with a massive belt buckle that I'm pretty sure we should remember) and start asking about free range eggs. When the diner owner says he just has regular eggs, they smirk. "Your chickens have been interfered with," one growls. "They're not normal." 
 
They go to Sarah's booth, and when she tries to draw her gun, the larger man takes it off of her. The men are about to lead Sarah away when the man behind the counter draws a rifle. "You sure, Sarah?" the belt buckled man asks. "We've come here to take you to Kira." As Sarah thinks this over, he shoots the diner owner. Fatally wounded, he lands a lethal shot on the other man. In the ensuing chaos, Sarah runs, and we're left with a barrage of images from, I'm guessing, other parts of the season -- including one in which Rachel purrs to Paul, "You're the only one who seems to know what makes Sarah tick." Yes, indeed.
 
There was a lot to digest in this scene, but clearly the Big Bad has two new foot soldiers (well, one, as I don't think the tall guy is coming back) and the diner owner suggests there are those looking out for the clones we haven't met yet (unless he's just the unluckiest guy in the world). I'm also a little worried about Rachel's focus on Paul as the most effective tool to control Sarah. And let's not get started about all of the disconnected numbers Sarah tried to call...
 
[End of recap and back to panel]
 
But back to the panel. The show is midway through filming the season, but Maslany was able to take a quick break from filming for the Golden Globes tomorrow night (Gavaris must head back to Canada tomorrow morning to shoot scenes in her stead). The nominee addressed a question about how her process in creating so many characters has changed in the second season. "It was daunting to come back to it… because I knew how much work it was going to be. At the same time, there's not this pressure of, will this work or will people buy it. So it's time to go deeper with it. I love all these characters so much and Graeme and all the writers have continued to deepen it, that to me was what was so exciting. It's just about going deeper with it, challenging and stretching it. We left them all at very tense places, so there was so much to work with. The challenge of it continues every day and keeps me absolutely obsessed with the show and the job."
 
On a lighter note, a journalist asked about the porno found in the stash of Alison's husband - "Big Boob Blowies." "I must give credit where it's due," Manson said. "I believe that was Alex Levine's title. And it really works with big slaps," he said, swooping a hand back and forth to demonstrate. "Big, boob, blowies."
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