“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.
February 10th, 2009
If there was ever any question about which J.J. Abrams show Fringe was trying to be, “Ability” sealed the deal.
For those who didn’t have the pleasure of seeing Abrams’ second major foray into television, Alias, this episode played out much like that series. At a certain point, Sydney Bristow walked into a residence during a mission (serving as a spy) and saw a puzzle lying scattered on a table. Within a few seconds, she was suddenly (and subconsciously) completing the puzzle before her, instinctively creating the tower that the pieces created. While I won’t spoil the actual reason why Sydney was able to complete the task, let’s just say that it was some sort of test project, and that there was a reason why she became a spy.
Ultimately, “Ability” is trying to do the same for Olivia Dunham, giving her a reason to be so intricately linked to this mysterious scientific conspiracy that is currently unfolding. Catapulting the mysterious and creepy Mr. Jones back into our main narrative, we learn some very important things in this episode, things that will go a very long way to allowing the series (upon its return in April) to expand into ideas that have laid dormant since the pilot or have yet to even be uncovered. The result is, if not the cleanest episode since the show first entered into this type of territory with “The Arrival,” then certainly the one that has felt the most expansive.
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.
September 9th, 2008
One of the fascinating things about Fringe is that, at its core, it is many things we normally associate with lesser television series. It’s blindly derivative of The X-Files, is a procedural in an era where the term is a dirty word, and J.J. Abrams’ creative influence feels like a simplified version of Alias. Combine with a rather outrageous sense of psuedoscience that takes some time to get into, and there’s plenty of reasons why Fringe could have been a disappointment.
But it’s not: from the opening scene, Fringe raises a central question that begs an answer, a scientific mystery that is caught up in something very large and, most importantly, something very real. I don’t mean real in the sense that this exists within our own universe, but that it is not some conspiracy trapped within pure shadows: yes, there is definite mystery, but the actual structure of the series represents a clear and, at least generally speaking, easy to follow setup in which these questions can be answered.
While this does mean that the show will not be quite the action-based and serialized rollercoaster that Lost or Alias were on occasion, it more importantly allows the show to focus on other things. In particular, there is some very strong character work throughout the episode, with strong performances and good scripting creating both interpersonal relationships and personal motivations that drive the action forward. While the result is a pilot that lacks the same punch as Abrams’ previous projects, it might actually be a better pilot at foregoing a few twists and turns (not that the ones in the episode are poor) in favour of building a sustainable foundation for the future.
Plus: that dude’s jaw totally just melted off.