“Fringe” seems to be very skilled at mixing the impressive character drama aspects of “Lost” with the mystifying twists and unexplained phenomenon of “The X-files,” along with adding an arsenal of sci-fi high-tech gadgets and wizardry quite reminiscent of shows like “Alias.”
Yet for some reason the show seems to be falling out of intense viewership as of late.
Hopefully “Fringe” doesn’t fall into the same pitfalls that other genre greats have been consumed by – presenting so many mysteries that inevitably erode the audience’s patience and interest.
However, I have managed not to miss an episode since the premičre, and I’ve already pledged my support for the show’s unique style and refreshing approach to this rather tired medium. I have yet to see an episode that has bored me yet. Sure, as with most television shows, some episodes have been more glorious than others. That being said, this season has maintained an energetic pace and a constant surge of almost completely original concepts and ideas. The mythology has already surpassed merely intriguing and has landed into downright enthralling territory, along with such shows as “Lost” and “Twin Peaks.”
“Fringe’s” core plotline centers on a series of unexplained events, which are delicately related to each other by means of the baffling nature that engulfs them. These events are referred to as The Pattern. FBI agent Olivia Dunham, played by Anna Torv, charges the investigative front on these occurrences. Yet another interesting twist is the constant reoccurrence of her dead partner, lover, and apparent traitor, John Scott (Mark Valley).
The series has already established a looming antagonistic-like character in the form of the massive organization appropriately labeled as Massive Dynamic. The CEO, William Bell, has not been presented in the show just yet, but Nina Sharp further illuminates his presence. Sharp, played by the extremely talented Blair Brown, adds a tangible aroma of deception mixed with seemingly good intentions in a way that only a seasoned actress could.
For me, the most interesting element of the series has been the character labeled ‘The Observer.” Played by the exceptionally creepy Michael Cerveris, the Observer has appeared in every single episode since the pilot. His often epigrammatic appearances have sparked a sort of “Where’s Waldo” attentiveness toward locating his character in each episode. In the most recent episode, his character was spotted for a split second on a security camera. Ever since the Obeserver’s official introduction in “The Arrival,” “Fringe” has secured a must-see spot on my Tuesday nights.
Fortunately, “Fringe” has the wise heading of show creator J.J. Abrams to maintain the show creative direction. Of former “Lost” fame, Abrams has often cited that he believes that character drama and development are crucial to a show’s success. “Fringe” develops relationships on an episodic basis, especially while reinforcing the estranged father and son, Peter and Walter Bishop. Once again the ingredients for television perfection are set, but it remains to the show-runners to extend this trend in excellence. Hopefully, all will prevail. I give this series a 9/10
