I was a little concerned about using up “Mother” this soon, as we’ll doubtless get another episode about the Olivia & Etta dynamic before Fringe is over; there are now fewer than a dozen episodes left, however, and I’ve learned not to be too precious
about such things.
Here, partly in honor of Walter’s addled state but largely because it’s all I’m able to put together, are some disjointed musings on...
No Swedish or Portuguese, I promise.
Yes, “Mind Games” it will be, since “Lucy in the Sky with Diamonds” felt both a little
too on the nose and not really descriptive of ...
I’m going to try to blog weekly on Fringe, quite possibly my favorite TV experience
of the moment, as I said the other day in recapping the past couple of seasons. My oft-cited online problems and innately unpredictable abilities mean no guarantees, although I suspect that having gotten a new overview of the show out of the way will help. Now, better late than never, I offer my thoughts on one of the most intriguing
and most disappointing installments of this excellent series to date.
I’d been planning to write up the last three Fringe episodes of this season, which reportedly form one continued story, to quell persistent requests made by friends and as practice for potential weekly reviews come autumn now that Fox has renewed the show. A few things conspired to convince me that it was a good idea to start early with last night’s episode. Here’s a bit of background to save us all from recap fatigue in future chapter-specific editions.
My initial essay on Fringe — an earlier post on its glyphs notwithstanding — came midway through Season Two. While I’ll run down some of the salient plot points that have taken center stage since then, it provides a good overview of my thoughts on the first half of the series to date. To folks reading this who are unfamiliar with the show: You’re going to be confused, for sure, and you’re missing an excellent television experience. I highly recommend catching up via downloads or DVD; both Fringe and Supernatural (which is nearing the conclusion of a welcome albeit weak-by-comparison season a year after many expected it to wrap entirely) are worthy successors to the very best of The X-Files and choice viewing not just for “genre” fans but for anyone who enjoys great character work played out through superbly inventive storytelling.
J.J. Abrams and Joss Whedon each premiered a new series on Fox last season, to considerable anticipation from genre buffs and admirers of quality television in general. Fringe, created by Abrams with his Star Trek screenwriting team of Alex Kurtzman & Roberto Orci, has just gone on midwinter hiatus. Whedon’s Dollhouse ended its erratic run of just over two dozen episodes last week.
I began writing this post an entire year ago — the same month this blog launched.
