Tag Archives: Anna Torv

Season Finale: Fringe – “The Day We Died”

“The Day We Died”

May 6th, 2011

While I intended on writing something following the Fringe finale all week, I expected it to be a piece about how my general distance from the series made the finale less satisfying than it may have been for its hardcore fans. As the anticipation has been building online, I found myself with absolutely no investment in the series or its characters: while John Noble continues to give a really tremendous performance, the entire back end of the season has squandered a lot of the engagement I had with the series. I wasn’t looking forward to explaining why, to be honest: I don’t think there’s a simple answer, and I don’t exactly wear my inability to be a “fan” of this show as some sort of badge of honor.

However, it turns out that my lack of attachment is maybe the only thing keeping me from feeling outright ripped off by this awkward, poorly written, and yet unquestionably ballsy finale. In the final moments of “The Day We Died,” the show throws a hail mary that is designed to have fans both panicking and frantically revisiting previous episodes to discover either a loophole or some sort of reasoning for such a drastic turn of events.

For me, meanwhile, it’s the one breath of life in an episode which created too many problems for itself to properly tap into any of the pathos introduced earlier in the season, returning instead to vague generalities mapped onto poorly defined MacGuffins of little import or value. And, thankfully, I didn’t care enough to be outraged about it.

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Fringe – “Lysergic Acid Diethylamide”

“Lysergic Acid Diethylamide”

April 15th, 2011

“I can see it in your eyes – it’s not you.”

Well, that was quite the experiment.

Part of what has made the third season of Fringe so compelling is the degree to which the other universe has been fully realized. It is a place we can journey to, a place with a heartbeat and which moves us beyond the imaginary. Olivia being trapped in that world wasn’t a problem that needed to be solved, it was a situation that begged to be explored. It was an instance of science fiction storytelling that had room to breathe, that could be revealed gradually rather than being defined immediately.

By comparison, the Inception-esque journey that Walter, Peter and William Bell’s consciousness take into Olivia’s mind is pure imaginary. While I do not want to discount the value of the imaginary, and would applaud the show for testing the boundaries of its visual storytelling with its use of animation, the fact remains that “Lysergic Acid Diethylamide” just absolutely failed to resonate for me. As the episode came to its emotional conclusion, I felt one level removed from the action, and I don’t think it was simply because of the fact that the characters in question were cel-shaded.

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Fringe – “Bloodline”

“Bloodline”

March 25th, 2011

The greatest test of a critic’s demeanor towards a particular program is how they respond to its renewal.

When Fringe was picked up on Thursday, there were two primary responses among critics. The first was excitement: many had written off Fringe after it was banished to Fridays by a network with a reputation for injustices related to science fiction programming, and so an early renewal (rather than a tense upfront decision) was a revelation.

If I’m being honest, though, my response was more on the side of cynical. My first thought was what would need to change to justify the renewal, and what kind of story/casting changes might be necessary in order to facilitate this renewal. I think part of this is just my inner pragmatist, wanting to be realistic about the obvious compromises that will need to be made as Fringe shifts from a show Fox wants at a 2.0 to a show Fox will renew at a 1.5. However, I can’t lie and suggest that my cynicism is not partially the result of some trepidation regarding the show’s more recent story developments.

“Bloodline” seems an ideal episode to air directly after the renewal, given that this is the kind of episode that the show might no longer be able to do. While I think it might be premature to suggest that a cash-strapped fourth season will result in the end of Over There’s role within the series’ overarching storyline, I think it is fairly safe to claim that spending a quarter of the season in an entirely different world populated by different characters may be lost.

And I hope they don’t think that plot can make up for the loss of atmosphere.

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Fringe – “Stowaway”

“Stowaway”

March 18th, 2011

The conclusion of “Os” was laughable, a fact that I truly hope the writers at Fringe were aware of.

It’s not that this represents some sort of continuity issue: this is a weird enough show that something like this can be easily explained by William Bell’s genius and a newly introduced detail from nearly two seasons ago. Rather, this is an issue of simple silliness: the idea of Anna Torv putting on a deep voice and channeling Leonard Nimoy is just not something that is meant to be taken seriously.

The show has always been willing to mix comedy and drama, with Walter in particular adding a certain degree of silliness to the dynamic, but that feels intrinsically part of the character. By comparison, “Stowaway” does a few concerning things which make this bit of comedy feel less than organic, and which clashes with a compelling and emotionally complex standalone tale.

It isn’t enough to entirely unhinge the episode, each story ultimately fairly effective, but at the end of the day it still feels like something happening outside of the story, something being played with rather than something being dealt with.

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Fringe – “The Firefly”

“The Firefly”

January 21st, 2011

There is a lot to like about “The Firefly.” Any episode which centers on John Noble is bound to be of high quality in the performance area, and pairing him with guest star Christopher Lloyd proves to be as effective as one might imagine. The episode also embodies many of Fringe’s most distinctive qualities, twisting time and playing with alternate timelines in ways which have defined its creative improvements over the course of the past two seasons.

And yet, I can’t help but feel that “The Firefly” is not quite as good as it might seem on the surface. This is not to say that the opinions of people like my A.V. Club colleague Zack Handlen (who gave the episode an A) are invalid – like I say, I completely see where they’re coming from. In the end, though, I felt that the episode never found a sense of harmony within the dissonance, providing moments which seemed transcendent but ultimately delivering an episode which very much wore the scars of a necessary stepping stone on which the rest of the season will be built.

Thus, while I admire that it delivers some truly heartfelt moments which nicely set the stage for what will follow, the topsy-turvy nature of the episode feels purposefully elusive rather than genuinely mysterious – perhaps a fitting pivot into the remainder of the season, but ultimately disruptive to the episode at hand.

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Season Premiere: Fringe – “Olivia”

“Olivia”

September 23rd, 2010

Earlier this year, I wrote about what I called “procedural pacing,” wherein FX’s Justified gradually became more serialized throughout its first season: by starting with a more procedural format, and then having that format be interrupted and taken over by a serialized story line as the season wore on, the show established and then shattered its status quo. As a result, when the story eventually turned over in its entirety to Raylon Givens’ battle against the Crowder family, it felt “earned”: instead of seeming like an attempt to create false stakes, we had seen every step in this process, allowing the storyline to feel wholly organic and, more importantly, wholly satisfying.

I don’t think I entirely realized this before, but Fringe very much follows the same principle. It could have, at any point in its first two seasons, indulged in its science fiction premise to the degree we see in “Olivia”: we’ve known about the alternate universe since the first season finale, after all, so what was stopping them from introducing Fauxlivia at that point in the story? Fringe has had the potential for a serialized science fiction series since its pilot, and many have often criticized the series for not doing episodes like “Olivia,” a rollicking yet thought-provoking premiere, more often.

And yet, “Olivia” works as well as it does precisely because it is disrupting a status quo the series has established quite well over the past few seasons; much as Justified’s serialized elements had greater meaning due to the nuanced buildup, the slow development of the alternate universe and its role within this larger story has allowed the various dualities and conflicts the series is creating to have meaning which would have been lost had it been introduced at an earlier date.

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Moving into a Higher Genre Bracket: Consistency and Balance in FOX’s Fringe

Moving into a Higher Genre Bracket

April 1st, 2010

There are some shows that I can honestly say I’ve given up on: I stopped watching shows like Desperate Housewives because it was clearly not going in an interesting direction, and it had long gone past the point where the strength of the performances could carry my attention. However, there are other shows that I stop watching where there isn’t that moment of decision, where I don’t consciously make some sort of decree about it. I didn’t give up on The Mentalist or Grey’s Anatomy so much as I gave up on finding the time to watch them, which is a completely different situation and one that is particularly common on Thursday nights.

And so when I stopped watching Fringe, it wasn’t some sort of judgment on the show’s standalone episodes, or any sort of disappointment with its serialized development. Rather, Thursdays are busy, and the NBC comedy block having become four-strong this year (at least in theory) has made Thursdays busier than ever. Sure, it says something that Fringe was the first show I dropped, but I don’t want to make that out to be some sort of judgment when it wasn’t one.

I’ve spend the past few days catching up on Fringe’s second season, which I dropped after the second episode, and it’s been quite an illuminating experience. When you step away from a show like Fringe for so long, and end up watching it in this sort of condensed fashion, you see a lot of things that you might not have seen before: your perception, in other words, becomes more important (or at least more noteworthy) than reality, fitting considering the role that played in the episodes I had a chance to watch this week.

While some may argue that Fringe is “inconsistent,” I would argue that it is our perception which varies as opposed to the show itself: depending on where we place our expectations, Fringe is either a compelling procedural with a (relatively) complex serialized mythology or a blasé procedural with intermittent signs of serialized intrigue. I don’t think either of these perspectives are wrong, or unfair to the show, but I would argue that it has been pretty consistent in its ambitions in its second season.

And while I don’t necessarily perceive the show as one of television’s finest, I had a lot of “fun” catching up on the show…in fact, I had more fun than I had expected.

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Season Premiere: Fringe – “A New Day in the Old Town”

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“A New Day in the Old Town”

September 17th, 2009

From the very beginning, I’ve said that Fringe is a cross between Alias and The X-Files, two shows that were pretty similar to begin with. While The X-Files leaned more towards the blatantly supernatural, both shows dealt with elements of prophecy which linked investigators with the events transpiring, and each dealt with the impact of bureaucracy on such investigations. So when J.J. Abrams created Fringe, in some ways it was an example of a creator taking an element of one of his earlier shows and simply expanding it into a new arena. There is not a huge leap between Rambaldi and the Pattern, and at various point in Fringe’s first season you could see Abrams (along with Orci, Kurtzman, etc.) tweaking the formula in an effort to avoid what happened to Alias, where serialized storytelling overran any chance of the show maintaining a procedural structure.

But at the end of the first season, Fringe truly came into its own. Once the show started more carefully considering the impact of the pattern and really indulging in its serialized side of things, the show picked up a new head of steam. Early complaints about Anna Torv’s performance mostly melted away, and the show should some skill in how it handled the conclusion of Mark Valley’s time on the show and eventually how it introduced the fairly huge development of an alternate universe. By linking said alternate universe both to Peter’s sense of identity and to Walter’s damaged mental state, and by placing the mystery of William Bell directly within it, it became part of the fabric of the show as opposed to tearing it all apart. When we panned out and discovered the Twin Towers still standing in said universe, it was a shocking moment that showed a series very much in control of its own destiny, and not just a collection of leftover ideas from Alias or The X-Files.

And to be honest, I think “A New Day in the Old Town” is probably a far better episode than I’m about to give it credit for, as its ‘big twist’ fundamentally took me out of the episode and right back into feeling as if this is Alias: Part Two for Abrams, in some respects. While parts of the episode really felt like the show that I came to really enjoy at the end of last season, there were other parts which were designed to capture new viewers and to trick unsuspecting viewers into feeling sad, or concerned, or anything else. It’s a trap that is often considered necessary for procedurals (which Fringe technically is), but by delaying the resolution to last season’s cliffhanger and providing a simulation of conflict it felt as if the episode was all about that big twist at the end…and when that was Abrams blatantly ripping himself off, I guess I’m just not as excited about this episode as I expected myself to be back in May.

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Season Finale: Fringe – “There’s More Than One of Everything”

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“There’s More Than One of Everything”

May 12th, 2009

I wrote a piece a while back about the ways in which Fringe sits between the procedural and the serial, with episodes that feel heavily formulaic and others that are heavily serialized and almost feel like a different show. “There’s More Than One of Everything,” as a finale, sits as the latter, an engaging with huge ideas, long-gestating character reveals, and the central “reality” that the show has been dealing with.

But what makes this episode work is that it didn’t come after a string of your run of the mill procedural episodes: by spending more or less the entirety of the post-hiatus period, which I haven’t been blogging about as I’ve been forced to play catchup more than once, balancing these two elements more effectively than in the first part of the season, the show has found its footing and was capable of delivering this finale without feeling as if this was an out of the blue burst of serialized interest to a show that too often falls on its procedural elements.

So when the scene eventually arrives when all of the individual cases suddenly tie together to help Olivia solve the true motivations of the infamous Mr. Jones, it doesn’t feel like the hackneyed scene it could have. The show doesn’t quite feel as natural as, say, Lost within this particular environment of the big event episode, but the show quite adequately and quite subtlely put itself into position for this finale over the past few weeks, and it was much more effective as a result.

As for whether it’s right up there with Abrams’ other shows in terms of finales, well, that’s a different story…but not an unpleasant one for the creator.

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Fringe – “Safe”

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“Safe”

December 2nd, 2008

I wrote a piece a few weeks ago wherein I talked about the gradual serialization that was causing some viewers of one of the season’s successful demo hits; Fringe may be from J.J. Abrams, but it was taking a lot longer to feel like it was capable of rising to the scale of the shows we most often associate with Abrams (Alias, Lost). I argued at the time that this was part of the appeal, that it was designed (as will be Joss Whedon’s Dollhouse) to appeal to two different sectors of viewers.

Well, I’d tend to argue that between last week’s solid “The Dreamscape” and the quite eventful and entertaining “The Safe,” Fringe has officially entered into the next phase of its serialization. Picking up, really, where “The Equation” left off, this episode felt like vintage Alias. It put together pieces that we didn’t know were pieces, brought various recurring characters into one central location, and revealed that our charisma-less heroine is more central to the series’ biggest questions than we realized.

What we got, finally, is an episode that felt meaningful: where the science was being used not to terrorize but to disrupt, and where both our characters and the conspiracy took on new roles that will lead to a better series once the show returns in January.

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