Who's the BOSCH

Article first published as BOSCH Review on Seat42F.

Amazon’s new drama pilot, their first ordered to series, BOSCH, begs the question: do we need another police procedural? True, BOSCH is also a character study of a tormented man who is on trial for killing an unarmed suspect, so he’s not solely focused on whatever new cases he gets into (against orders, of course), but none of this is very original or groundbreaking. Perhaps the title character in this show takes a things a step further than his broadcast network peers, the writers digging a little deeper, but the first hour feels like yet another retread on very familiar ground.

The thing is, I just can’t jump on the Bosch band wagon. When Luther, Elementary, House, and so many other shows have given us a very similar leading man, there just isn’t enough here that feels fresh or new. Sure, there are cosmetic differences, of course, the quality of this program is at least as high, if not higher, than those others I’ve named. But at the central core, Bosch is lacking originality. And, like nearly half of the shows on television today, it takes place in L.A., a totally uninspired setting.

It’s possible to stay in the crime genre and make something fresh. HBO’s True Detective last year proves that. But BOSH isn’t True Detective, so it fails on an essential level.

The best thing I can say about BOSCH is that it casts Titus Welliver (Lost, Argo, Sons on Anarchy) in the main part. Welliver definitely deserves leading man status, and he easily handles the material, being allowed to show his depth and range in a way he hasn’t yet. From his buried pain over what he did, to the face he has to put forward both for the sake of his profession and so that he can try to live with himself, he’s not a shallow man. Bosch is no House; he is quite likeable. Circumstances have brought him to where he is, not mistakes he made with foreknowledge.

He is joined by an excellent ensemble. The other major characters include Scott Wilson (The Walking Dead), Annie Wesching (24), Lance Reddrick (Fringe), Amy Aquino (Being Human), Abraham Benrubi (ER), Amy Price-Francis (King), Alan Rosenberg (Cybill, Luck), Valerie Cruz (Off the Map), and Jamie Hector (The Wire). So many familiar names, and all of them memorable. One cannot complain about the casting.

What will set BOSCH apart a bit, for those who love the genre so much that they haven’t yet grown tired of it yet, is the dual narratives. Because Bosch is facing his own challenges while working at his job, and his personal story probably won’t only pop up a couple of times per season, as it would on CBS, there’s something interesting in every episode. It’s not enough for me, but it will likely be enough for many viewers.

So, at the end of the day, I don’t think it matters if BOSCH has smart writing, convincing acting, and well-developed characters. All of those things are true, and the series definitely is near the top of its field, but the market is too saturated. With Amazon just trying to break into scripted drama, it may have been a safe path to choose something tried and true, but it’s also a boring one. We didn’t need another show like BOSCH, and while it may make Amazon seem like a legitimate contender in the original content market, it also signals they may not forge their own identity, which is sorely needed to set them apart.

Bosch’s first season is available now on Amazon.com.

He's the BOSCH

Article first published as He's the BOSCH on TheTVKing.

Do we need an other police procedural, even if it's couched in a character study of a tormented man? That's what Amazon is delivering to us in Bosch, one of their first two drama pilots, currently streaming free on their website. The titular detective is simultaneously on trial for the murder of an unarmed suspect, while still digging into fresh cases, against orders. Can he escape jail and find peace?

It's hard to argue that Titus Welliver (The Good Wife, Lost, Sons of Anarchy, Argo) doesn't deserve a leading role. He absolutely does, and he definitely handles the main part of Bosch well. He lets us see the hurt it causes him to know he killed someone, beneath the bravado he must maintain to sleep at night and continue to do his job. He's a good man who accidentally did a bad thing, with cause, and thus a likeable protagonist.

The problem is, we already have plenty of these. Shows from Luther to Elementary to Justified to House have already given us pretty much the same archetype. There are differences of course, but these tend to be only cosmetic, and what sets each apart tends to be the quality of the writing and the ensemble, rather than any real originality in storytelling.

Bosch does lean towards the higher end of the spectrum. Part of this is because of the dual narratives, the court case and the current investigation, balancing each other nicely. Another part is the enjoyable ensemble, which includes Scott Wilson (The Walking Dead), Lance Reddick (Fringe), Amy Aquino (Being Human), Annie Wersching (24), Alan Rosenberg (Cybill, Luck), Valerie Cruz (Off the Map), Abraham Benrubi (ER), Amy Price-Francis (King), and Jamie Hector (The Wire). It's a great group of performers.

Bosch is better than most of the other crime shows. The writing is smart, the acting is convincing, and the characters are well developed. These are adjectives I frequently use to describe good shows, and it applies here, too.

But because the market is inundated with this type of drama, though,, it's not necessary to make another. I don't know if Amazon hopes that by delivering something so familiar, we'll see it as a legitimate television content provider. What is more likely, though, at least for those of us that consume lots of TV, is we'll see it as lazy, yet another clone for an already crowded genre.

What would set Bosch apart from its peers? Well, letting Bosch leave the law enforcement profession behind would be good. Or seeing him actually go to jail, the story following him as his life changes, and then the fight to overcome that. I'd like to see Bosch himself do more than just stay in the structure he's accustomed to. But this seems quite unlikely, as it's a much more challenging type of show to tell. Or, at least they could make the setting somewhere other than L.A., which has been done to death.

Making a brand new crime show worth watching isn't impossible; HBO's True Detective has proven that. Bosch just isn't True Detective-caliber, even as it's a notch above anything on the broadcast networks.

Bosch's first episode is available now on Amazon.com

AMERICAN HORROR STORY Finale Full of "Wonders"

Article first published as TV Review: 'American Horror Story' - 'The Seven Wonders' on Blogcritics.

Editors note: Please be advised that this article contains spoilers.

FX tied up its third season of American Horror Story, subtitled Coven, this week with “The Seven Wonders.” It’s time to pick a new Supreme to head the Coven, and the four younger witches are tested to see which one has the magical powers necessary to take command. All does not go smoothly, but we are left with a definitive ending.

First of all, it is a little disappointing that the witches are trapped in a backwards power structure in which the one with the greatest magical abilities, i.e. the strongest, is the leader. We’ve seen with the current Supreme, Fiona (Jessica Lange), that skills have little to do with wise decision making. Even with a Council to support the head, shouldn’t this coven make a change, rejecting the old way?

But that’s nit-picky and doesn’t really apply to the story, since at least the characters and the world stay pretty consistent over the thirteen episodes. “The Seven Wonders” as an installment is excellent.

The opening of “The Seven Wonders” is basically a Stevie Nicks (herself) music video, which is fine. It’s a great song and the visuals are beautiful. It may not completely fit with the tone set, but it’s fun, original, and a really cool way to kick off this season finale. I enjoyed it immensely.

After this, the real plot begins with Zoe (Taissa Farmiga), Queenie (Gabourey Sidibe), Madison (Emma Roberts), and Misty (Lily Rabe) being tested. Given the unpredictability of the writing, it’s difficult to predict ahead of time how it might turn out. Some viewers might see Misty’s death during the trial coming; we’re repeatedly warned that this is a very dangerous, sometimes fatal, process, and Misty shows hesitation and limitation early in the contest. But few will predict Zoe’s death during foolish goofing off or Madison’s victory.

Madison seems appropriate to follow in Fiona’s footsteps because they’re a lot alike. They’re both selfish and cold, pretty and vain, bitchy and with sass. Madison appears downright evil at times, such as when she refuses to bring Zoe back from the dead, even though it’s well within her power to do so. But so does Fiona, who plans on slaughtering everyone, including her own daughter, Cordelia (Sarah Paulson), to buy herself thirty more years as Supreme. So the pointed shoes do fit.

But Madison also seems the early, obvious choice in Coven, so if “The Seven Wonders” had left things there, it would have been a great disappointment. Instead, the whole situation plays out in such a manner that Cordelia must draw her own inner strength to the forefront, enter the race late, and beat Madison. Which she does, quite effectively, meaning the new Supreme is not one anyone would have considered at the beginning of the hour.

American Horror Story: Coven sets up Cordelia’s rise throughout the season. There are many set backs for her, to be sure. Being blinded, learning her husband is a witch hunter, any interaction with her mother; these are things that tear Cordelia down. However, knowing her gene pool and seeing glimpses of greatness, it’s not surprising when Cordelia does overcome the odds to achieve victory. When her new-found power is mixed with her kindness and compassion, she is the likely candidate to lead the coven into a new era of tremendous potential and growth, which she does by publicly reaching out to the witches of the world.

The ending of Coven is the most open-ended of any American Horror Story season so far and begs for followup. While there is some closure, with many characters dead and Cordelia advancing the school into a new period with Queenie and a resurrected Zoe by her side, there are also all sorts of implications that remain unexplored. How does the world accept the existence of witches? What will bringing so many together do? More than the first two seasons by far, Coven deserves a second outing, which would be a completely different story.

Now, as much as I like this ending, there are some weak points in “The Seven Wonders.” How is Queenie accepted back so readily after her betrayal? Why isn’t Zoe more moved by Misty’s death? Is Myrtle (Frances Conroy) really so selfless that she’d orchestrate Cordelia’s rise to power and then offer herself up for death for no other reason than to leave the coven in good hands? And was that necessary, as no one would have ever told on Myrtle for her transgressions? This finale should have been two hours, as these bits could mostly have been explained or delved into more deeply, and the hell part of the competition, skimmed quickly over, could have been its own episode. But these complaints pale in comparison to all the terrific character moments this season, and even this hour.

Among the best moments are Cordelia grieving over Misty as the gal turns to dust in Coredelia’s arms, Kyle (Evan Peters) strangling Madison to death, totally deserved, and the departed Spalding (Denis O’Hare) showing up to help hide the body, and Cordelia beating Madison in the competition. These are all defining scenes, the culmination of season-long arcs that provide satisfaction and closure.

Best of all is the finale confrontation between Cordelia and Fiona. Fiona comes to kill her daughter, but has waited too long and is too weak to do so. Fiona’s plan and deceit are sound and worthy of her, but she overestimates herself. Cordelia, bolstered by her new authority, finds it in herself to forgive her mother and let her die in her arms. The words they say to one another are enlightening, and both actresses play the scene with such rich tension that it will be remembered long after being viewed. This is nothing short of brilliant.

Just as good is Cordelia’s hell, living in domestication with The Axeman (Danny Huston). Some may argue that The Axeman isn’t important enough to Cordelia to spend eternity with, in stark contrast to the existence Madame Delphine (Kathy Bates) and Marie Laveau (Angela Bassett), who had their perfect ending last week, are trapped in. But I think that’s kind of the point. Fiona didn’t want to be tied down or normal, and now here she is stuck with a man she doesn’t love. It’s horrible for her. Papa Legba (Lance Reddick) laughing at her is icing on the cake.

There are also little bits just for the fans out there, meta references to make us smile. Madison names her hell as being in The Sound of Music reboot, and not as the lead, a poke at the recent broadcast network effort. This is even more fun when you consider Glee, another series from the mind of Ryan Murphy, is also a musical, and so he’s almost firing off a shot at his competition. It’s amusing that Sarah Paulson’s character is once more in front of TV cameras in “The Seven Wonders,” similar to her part at the bottom of Asylum. The Last Supper tableau just before the games begin is terrific. Kyle asking Spalding “Who are you?” – two main characters who only share this one scene in the entire season, is hilarious. These may be small gags, but it’s nice that Murphy and company include them.

And so we have another stellar season of American Horror Story to look back on. Basically, this season has been an amazing tale of some fascinating women, thoroughly well done. Better than Asylum, and arguably just as good as the first outing, albeit in different ways, Coven is a fantastic accomplishment, proving the show’s creators know what they’re doing in regards to crafting a tale and picking the right cast. I can’t wait to see what they come up with next.

American Horror Story has been renewed for a fourth season, and will return with a fresh setting and complement next fall.

COMEDY BANG! BANG! Returns

Article first published as COMEDY BANG! BANG! Returns on TheTVKing.

IFC's bizarre talk / sketch show Comedy Bang! Bang! returns for a second season this week with the episode "Andy Samberg Wears a Plaid Shirt and Glasses." After host Scott Auckerman convinces his doctor in the insane asylum to be bandleader Reggie Watts, the two escape the institution and begin the second season of the show for the first time. Confusing? Perhaps, especially when the scenario is called back at the end in a different way. But much of Comedy Bang! Bang! refuses to make sense, which is part of its charm.

Auckerman has a very interesting and unique sense of humor. He takes normal things and moves them into very strange arenas. He routinely interrupts his interviews with tangents, or inserts gags in places you don't expect them to be. The talk show portion begins with Auckerman receiveing a LOT of prunes dumped onto his studio floor by a trio of delivery persons. Why? Who knows?

Auckerman's style blends well with Watts, who almost feels like a partner, rather than a sidekick, even though his part is smaller. Watts makes an impression every time we seem him, and he is a invaluable element to the series, more for his presence and deliveries than the occasional music he plays. I love when he interjects when Auckerman and Samberg begin whispering this week and he can't hear what is being said.

The interviews do not go the same on Comedy Bang! Bang! as they do on any other series. Samberg and Auckerman discuss numbers, have a gun / knife fight and discuss wounds, and viewers will never actually get to learn anything about Samberg or what he does. They stop the question and answer session at one point to explore alternate timeline possibilities. Which means this is far more an atypical series of scripted bits than it is an actual talk show, no matter what its format appears to be, which is in keeping with the aforementioned tone of the host.

There are also random guest stars who pop in at weird times. Fringe's Lance Reddick drops into Reggie's Tron-like virtual reality game, as does Selma Blair (Anger Management). Adam Pally from Happy Endings is a delivery man. Comedians Chelsea Peretti (Kroll Show) and Doug Benson (The Benson Interruption) put in tiny appearances. And Jordan Peele (Key & Peele) plays a turbaned psychic.

There's no telling what zaniness might happen in future episodes, which will feature personalities such as Aziz Ansari, Anna Kendrick, and Zoe Saldana, though admittedly the two leads matter far more to the success of each week than those who drop in. I'll be watching to find out.

Comedy Bang! Bang! airs Fridays at 10 p.m. ET on IFC.

On the Fringe no more

Article first published as On the Fringe no more on TheTVKing.

I have been a fan of FOX's Fringe since day one. I liked the first season, and then grew to love the show as it deepened, building a rich, complex world, and making bold moves, constantly resetting themselves.

And then came season five. Yes, the concept of jumping into a future where the Observers have taken over the world, virtually enslaving the entire human race, is supremely cool. But, somehow, our team found a way to get around in this world. Observers can jump to any place in seconds, but they couldn't find those deemed most dangerous to them, even though the rebels just hung out in their old lab. Episodes became boring, as our central gang searched for piece after piece of Walter's (John Noble) forgotten plan, and barely made any progress. And many beloved recurring characters were entirely absent.

I'm not saying the whole year was terrible; there were some great moments. But overall, it lacked something that had worked very well these past few years, and I began to watch with my eye on the end, just waiting for things to pick up as the finale approached, making it all worth it.

Sadly, I can't say that the two hour "Liberty; An Enemy of Fate" redeemed the series. Again, there were great moments. Emotionally, the episode really worked because it served a few characters, and touched on elements of the past, using nostalgia to make it seem better than it was. Old cases the team investigated are used to attack the Observers. We get to see Olivia (Anna Torv) with powers again. We see Faxulivia (also Torv) and Lincoln Lee (Seth Gabel), and that they have a happy family. September / Donald (Michael Cerveris) calls upon his old friend, December (Eugene Lipinski), to assist. Broyles (Lance Reddick) gets his shining moment to face down Captain Windmark (Michael Kopsa), just as Nina (Blair Brown) previously did. Michael bests Windmark with seemingly no effort. Walter says goodbye to his cow, and calls Astrid (Jasika Nicole) by her real name. Peter and Olivia get their daughter back. And, best of all, Peter (Joshua Jackson) has his best father/son moment to date with Walter, and even says "I love you, Dad."

Sadly, though, that is the surface stuff. There are so, so, so many plot holes and bits that don't make sense, that as much as I loved all of the things I just listed, the finale rings a bit hollow. If the Observers could jump to the alternate universe any time, why haven't they taken over that place, too? Where are the alternate universe Observers? Why do the Observers not try to capture and question Fauxlivia and Lincoln? Why not interrogate Broyles immediately about the whereabouts of the team, instead of wasting time by trying to follow him first? Why do the main characters take so long to abandon the lab, having discussions and watching videos, when they know that Windmark will soon be closing in? Why don't any of the many, many soldiers they pass while trying to catch a train recognize them? Why don't they park the van at the shipping lane sideways to provide cover from gun fire? Why don't they worry about bullets being fired under the trucks? Why don't September and Michael go through the shipping lane more quickly? How come the Observers don't appear and sabotage the equipment, rather than fighting man to man, thus defeating the good guys?

And the biggest question, if Michael prevents the Observers from becoming who they are in the first place, they never send scouts back, and September never grows protective of Michael, so the Observers don't have any reason to be stopped from becoming evil, so they still invade, which creates Michael again... It's all destined to happen in a loop. Telling us the universe allows such a paradox, with the only penalty to be to delete Walter from the timeline in 2015, is pretty ridiculous, and feels like a total cop out.

In short, I don't want to forget everything about the finale or the final season, but for reason, it just does not live up to the brilliance of seasons two through four. I don't know why more notice wasn't taken with the details of the story, as it has been in the past. Maybe the delicious concept they chose for the last adventure just painted the writers into a corner. Whatever the reason, Fringe will forever remain a solid and memorable show over all, with a disappointing ending.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

On the Fringe of the series

Grade: 87%

FOX’s FRINGE has tackled several universes and timelines, with characters existing, then not existing, being killed off, and then being alive again. For the fifth and final season, the series faces yet another reboot, this time moving events more than twenty years into the future.

The season premiere, “Transilience Thought Unifier Model-11,” continues the plot begun in last season’s episode “Letters of Transit.” Peter (Joshua Jackson), Walter (John Noble), and Astrid (Jasika Nicole) have been freed from their self-imposed amber prison by Peter’s daughter, Etta (Georgina Haig). Walter tells them that they must find Olivia (Anna Torv), as she has an important device that would allow Wallter to defeat the Observers, who have taken over the world.

Believe it or not, it isn’t that hard to find Olivia, and Etta is soon reunited with her mother. But in the process, Walter is taken prisoner by the Observers, and his brain is damaged severely. Will he still be able to save everyone? And why has the music died? Are songs what Walter needs to figure things out?

The futuristic world of FRINGE owes allegiance to many sci-fi stories. While it is a new, original creation, there are lots of illusions its geeky fans will recognize. The Observers say “Resistance is futile” like Star Trek’s Borg. Videos are played back on flickering blue projects, a la Star Wars. Banners and posters of an Observer hang from buildings just as they did for Big Brother in 1984. Why so many borrowed ideas? Is this purposeful, a clue meant to provide insight into events? Or have the Easter eggs included for the nerds just grown too obvious?

There are so many unanswered questions in “Transilience Thought Unifier Model-11.”  Even before the team was put in the amber, several years had passed since the previous episode. How did the Observers conquer mankind? Why was William Bell (Leonard Nimoy) in the amber with the Fringe team? When did September (Michael Cerveris) implant Walter’s brain with the key to stopping his people? Why have the Observers taken over in the first place, when previously they had only watched?

The episode itself is kind of tantalizing because it does fill in a couple of the gaps, such how Olivia and Peter came to break, and why Olivia isn’t with the rest of the team. But not a lot else happens. A plan is revealed, only to be yanked away again. Olivia is found way too easy, and the Observer’s base is infiltrated just as smoothly. Overall, it is not a strong return.

Even more regrettable is what is missing. Lincoln Lee (Seth Gabel) has been dropped from the cast, and there is no mention or glimpse of the other universe. This is an important element to FRINGE, having spent years developing that place and Lincoln’s character. To have them just disappear is disconcerting, and hopefully both will be revisited before the series makes its final bow. In fact, given the unsettling time and space jump, maybe some of these final episodes will be set back in the present day?

Broyles (Lance Reddick) and Nina (Blair Brown) are also missing. Does this allude to a shrunken universe in season five? Will the show now just concentrate on Peter, Olivia, Walter, Astrid, and Etta? These are all wonderful characters with fantastic stories, and the Bishop family (including Astrid, who is practically a member) is the heart of FRINGE. But that doesn’t mean that fans are ready to give up the rest of what is familiar about the show.

Which means that “Transilience Thought Unifier Model-11″ is disappointing. A large part of me trusts the people who make FRINGE to do right. After all, for four seasons they have not let us down, crafting this brilliant, original series. But the first installment of season five is less than promising, taking away many of the trappings fans have grown comfortable with, and revealing a whole different kind of adventure. Should the series be continuing a couple more years, this would be cool. Since there are a scant dozen episode left, it’s worrying to be taken so far off the trail FRINGE was previously on, with no signs pointing the way back.

FRINGE airs Fridays 9 p.m. ET on FOX.

A Double "Novation" for Fringe

     After being delayed due to baseball playoffs (completely unacceptable, but that's a whole other article), FOX finally returns Fringe this week with "Novation." Peter (Joshua Jackson) is locked up, and no one is quite sure what to do with him, as they don't remember anything about him. Especially not Walter (John Noble), who feels too guilty for destroying the two universes to allow himself any joy about seeing his deceased son grown. But then Peter proves valuable when the team investigates a shape shifter who has kidnapped a scientist. Peter shows Fringe Division how to track the shifter. They find the kidnap victim, but the shifter gets away, with a new formula that will solidify its DNA, making it virtually indistinguishable from humans.

     The threat posed in "Novation" is an extremely scary one. With no way of knowing who might be a shape shifter, short of cutting them open, things become very risky for everyone in the world. Anyone could be replaced, and no one would know it. World events may be influenced, nuclear weapons could be fired, or worse. If anyone in the Fringe Division is taken out, this opens up the potential for an undetected invasion from the other side, as is clearly the goal. At the end of "Novation," the shifter prepares for "others" to come join it.

     How can Fringe protect against such an invasion? Perhaps an x-ray could be done to identify the disc, but what's to stop the shifters from finding a way to move the disc within the body? Not to mention the harmful effects of radiation from multiple x-rays. This is where Peter might really come in handy. As he understands the shifter disc technology, he could possibly build some kind of detector that might pick up the chip from outside the body. This is the only possibility that jumps to mind, and that doesn't stop the shifters from coming over. Instead, it only prevents further incursion when the shifters get near the device.

     Given the new shifters' ability to replicate DNA, how soon before the Fringe team starts thinking that Peter might be a shifter, built from the DNA of Walter's dead son? It's a logical conclusion, given Peter's appearance now, and his knowledge of shape shifters. He could be just trying to trick them. However, that doesn't explain Peter's wealth of classified knowledge about Fringe Division, and thus, he should be wiped of suspicion.

     So will Peter's name soon be cleared so that he can join the team? They've seen their share of strange things over the years. Surely Peter's truth is something that they can eventually accept, when his story isn't able to be proven wrong. There are signs that even Broyles (Lance Reddick) is grudgingly beginning to tolerate him, like the funny moment when Broyles notices Peter's escape attempt, but can't say anything about it, because he needs Peter's help. Lincoln (Seth Gabel), the person least connected to Peter-related events, seems least concerned, and most willing to work with Peter. Prediction: Peter will be permanently out of a cell by next week, two weeks at the latest. As it should be.

     Walter is punishing himself for connecting the universes when he kidnaps alt-Peter as a boy, twenty-five years ago. Despite Nina's (Blair Brown) insistence in "Novation" that this might be a second chance for Walter, he sees it only as temptation, or a reward that he doesn't deserve and cannot accept. The Walter of the first three seasons isn't so mired in self-loathing because part of him is glad that he succeeded in saving Peter, no matter the cost. But this Walter never has that taste of partial victory, and thus, allows himself to be mired down in the negative feelings. While Peter is good at handling Walter, without Walter's part of the connection, it may prove nearly impossible. While makes for a more erratic, unpredictable Walter, an enjoyable circumstance for Fringe fans.

     Olivia (Anna Torv) has an even bigger conundrum than Walter. She understands why son would appear to father, but not why Peter haunts her dreams. Viewers know that the pair love each other, and certainly so does Peter, though there is no good way to broach this to a woman who thinks of him as a stranger. But sooner or later, Olivia will have to put together the pieces that he means something serious to her. There is no other way to explain their connection when Peter didn't fully exist in the universe.

     And why is Peter appearing now? The Observer (Michael Cerveris) is ordered to destroy any trace of Peter left. Instead, Peter is allowed to take solid form again. How does this come about? Why aren't the other Observers swooping in and getting rid of him? It makes sense that Fringe doesn't know about the Observers, since their connection was through Peter. But surely these bald watchers have a way of getting to Peter! It's curious that they don't do it prior to Peter being found by the government.

     The Peter issue is only part of what is going on. When Peter appears as a ball of blue energy to Olivia, she experiences small time jumps, repeating a minute or so. It is assumed that this is some kind of side-effect from what is happening with Peter, until it occurs again this week, with some paperwork. So that time jumping is its own problem, one that will need to be addressed before it becomes more serious. Given the preview for next week's episode, it appears that the poop is about to hit the fan in a huge way.

     There is one more major mystery pertaining to things that change in a Peter-less world, and that is Nina taking in Olivia and her sister as children. Could it be because she sees the pain Walter experiences from losing Peter, and wants to help a child? Whatever Nina's reason, this gives Nina and Olivia a different relationship than they have previously, and makes Olivia much more trusting of the woman. The implication here is that if Nina is hiding something, and she is surely hiding many things, Olivia is less likely to distrust her and look for those secrets. How much this will hamper future investigations is anyone's guess, but the Fringe writers wouldn't act randomly. There is some real danger in this revelation, and it will manifest itself at some point, likely sooner rather than later.

     The changed dynamic between Walter and Nina, on the other hand, explained in "Novation," is nothing to worry about. The reasons were predictable before the discussion happens, and they shouldn't matter towards anything important. Other than that Walter no longer owns Massive Dynamic. Nor is he in any position to capably own any corporation.

     One small complaint is that, so far in season four, Fringe is sticking to a more procedural format than last year. However, "Novation" isn't too procedural, and indications are that it is leaving the formula behind again soon. The reason the show may have reverted back to cases of the week could be to allow the differences in the world to creepy up slowly, and see a new normal. But several episodes just didn't love up to the usual high standard. The series is always much better as a heavy serial, which is what it should be.


     Watch Fringe, easily one of the best shows currently on television, Fridays at 9 p.m. ET on FOX. Fringe also stars Jasika Nicole.

     To catch up on the Fringe you missed, buy DVDs or watch episodes instantly on Amazon.com

     If you like my reviews, please follow me on Twitter!

Article first published as TV Review: Fringe - "Novation" on Blogcritics.

Fringe shows us "The Day We Died"

     Last night, FOX's Fringe delivered a truly game changing finale. "The Day We Died" is set in 2026, with the alternate universe long destroyed, and "ours" rapidly deteriorating. Fringe Division is led by Olivia Dunham (Anna Torv), and her agents include husband Peter (Joshua Jackson), niece Ella (Emily Meade), and Astrid (Jasika Nicole) with a new hair do. A terrorist by the name of Moreau (Brad Dourif, Deadwood) is setting off explosives in New York City, and the team soon discovers that the villain behind him is old foe Walternate (John Noble), who is trapped in "our" universe, having come to ask for help shortly before the destruction of his. To stop Walternate, Peter must ask Senator Broyles (Lance Reddick) to let Walter (also Noble) out of jail. But it may already be too late.
    

     This episode is not what is expected at all, and the preview aired last week is certainly misleading. While many thought Peter has traveled in time 15 years into the future, Peter soon becomes less confused, and has all the memories of the past fifteen years. So it's not a standard time travel story. Instead, it's a look at what happens because of a choice Peter makes fifteen years ago. The choice to step into the machine, which leads to the annihilation of the alternate universe from whence he came.

     There are a couple of notable absences in the future scenes. Nina (Blair Brown), who never gets enough screen time, appears only at the funeral. Lincoln Lee (Seth Gabel) is missing entirely. While the Lincoln in "our" world has only been seen once, he has become quite enjoyable as part of the alternate universe Fringe Division. It is disappointing that circumstances are not set to draw him deeper into the group. Since he isn't seen, we don't know where he is. Perhaps he does work for Fringe Division, and just is somewhere else during the episode. However, with much more important stories to tell, Nina and Lincoln are just not vital enough to be included in "The Day We Died."

     This is the story of how Peter destroys the world. Following in his father's footsteps, as Walter is the one who creates the first tear between the two worlds in the first place, Peter is the one that ends their war. But his ending is flawed, as once he destroys the alternate universe, "ours" is doomed, too. They are not separate entities, but rely on each other for survival.

     What a fascinating concept! While months have been spent worrying that whichever side won, billions of innocents would die, in the end, that is not the issue at all! The main characters all think the universes can not both co-exist, but instead, they now discover that they must co-exist. What a turn!

 
     The First People are finally explained. The whole episode is part of a paradox. A machine destroys the world. In the future. Walter learns that, and so he and others, the First People, build and take the machine back through time. Presumably, they use the wormhole in Central Park, which explains that particular disaster's necessity in this story. It is not explained how the second machine gets into the alternate universe's past. Yet, once Walter takes the machine back, and somehow gets Peter's 2011 consciousness to live through the 2026 events, then use that knowledge to save the world, both doomsday and Peter are wiped from time and history.

     What does this mean for Fringe? Obviously, this is a good storytelling device to get the characters from the two universes on the same page. "The Day We Died" ends with Walter, Walternate, Olivia, and Fauxlivia in the same room, reluctantly ready to cooperate. Apparently, season four of Fringe will focus on both sides working together to save their worlds. They are now in a position to do so, with Liberty Island allowing free passage as a bridge back and forth. This also exposes Fringe Division to the public, and makes known the events going on, leading to many more possible stories. A rich trove ready to mine!

     But what of Peter? No one remembers him, so no one is even poised to search for him. The Observers know Peter is gone, but as he served his purpose already, they have no reason to bring him back. Did they, or one in particular, create Peter to save the world? Or is Peter an anomaly that threatens destruction, until he changes course and fixes things, thus negating his own existence? What would the return of Peter mean? Would things reset again? Can Peter survive in a fixed world? Does Peter's son, Henry, still exist? Is Fauxlivia still will the previous boyfriend? The questions are endless and far from answered.

     However, Joshua Jackson is part of the central trio the series is about, and Peter is a very popular character. The producers have already confirmed he is still under contract for next year. The last has not been seen of Peter. Will the one Observer most often shown (Michael Cerveris) experience sadness at losing the man he spent so much time watching and seek to return him to life? He has shown a willingness to break the rules before. Will the others try to stop him? The Observers seem the most obvious element to use to bring Peter back, but that is not at all confirmed by the creative team behind the show, which have repeatedly proven how good they are at delivering the unexpected.

     In the future, Peter and Olivia are married. This backs up the hope of many fans that they will end up together. On screen, we have now been shown a stable, long-term marriage existing between the two. Once Peter finally is restored, which is inevitable, will the show pursue it wholeheartedly? Even when Peter comes back, will she remember him? They have just begun their relationship as season three ends. Is this a sign from the writers that they plan on keeping that romance alive? If so, it is a welcome one.

     Ella, Olivia's niece, is also introduced as an important character, working with her aunt. It is surely disappointing for the actress playing her that the series jumps back to its present at the end of the episode, thus negating any need to continue to use her. But, in a jam packed episode, this is not just a feel-good insertion. It is a sign that Ella will be more involved somehow moving forward. Considering how deliberate Fringe is with what they choose to include versus what they leave out, it is a remote chance that Ella's story is over. This has to be a major clue to the future.

     Will we ever get to see the future again? Or the First People in the past (Imagine that theme song!)? Fringe shows a willingness to go where the story is, often in way that viewers cannot predict. The writers will only take the story to the future or past if it is necessary for the continuation of the series's plots. Considering that the distant past has now been fully explained, they will probably not go there. Yet, by mentioning it, a door has been opened. A lot of fans will want to see those events. How can they become relevant again, so there is a necessity to see them?

     The same can be said for the future. The 2026 in this episode will no longer occur, so all the future versions introduced are now gone. Peter changed the course of history majorly. The positive aspect is that Olivia didn't die at Walternate's hand. But that also means a carefully constructed world will only appear in one episode. That is a crying shame. Hopefully, there will be reason to get around the quandry. Could next season go back and forth in time, as this season did between the universes?

     Olivia's death at the hands of Walternate says much more about his character than hers. In fact, despite one of the central trio getting hit dead square in the forehead by a bullet, the moment holds no tension. There are no tears evoked. No strong emotional reaction. Even the funeral scene is more ripe for curiosity than grief.

     Is this simply because events are already on course to be corrected? Olivia is killed fifteen years into a future that will not happen. Sure, the characters are sad, but as a viewer, the moment seems insignificant in this episode, which is highly surprising. For Olivia's death to be a minor thing in "The Day We Died," it really demonstrates just what an earth-shattering episode it is.

     Walternate, on the other hand, is shown as pure evil. Yes, he has his reasons. His son chooses the version of Walter that kidnapped him as his beloved father, turning his back on Walternate and destroying his world. That would be enough to make anyone angry and long for revenge. But Walternate has kept up this attitude for fifteen years. He has truly crossed beyond any ability to redeem himself. He is chock full of malice, and must be stopped.

     Watching Walter and Walternate has been very interesting because they are the same man shaped by very different circumstances. To see Walternate take such a drastic turn to the dark side means that Walter is capable of it, too, under the right conditions. How much will Fringe explore this? How much can they, without ruining a character who has shown so much growth? Now that they are together, will they begin to rub off on one another? The convenience of Walternate allows a consideration of the options without reflecting poorly on Walter. Truly brilliant. Which makes Walter's jail sentence in the future, as well as all of humanity's hatred for him, most regrettable, though under the circumstances, understandable.


     Fringe has been renewed for a fourth season and will return to FOX next fall.

     To catch up on the Fringe you missed, buy DVDs or watch episodes instantly on Amazon.com

     If you like my reviews, please follow me on Twitter! Click here for all of my Current Season Reviews.

Article first published as TV Review: Fringe - "The Day We Died" on Blogcritics.

Fringe: Countdown to the Season Three Finale: "Lysergic Acid Diethylamide"

     This third season of FOX's Fringe has been a wild ride from start to (almost) finish. It started with Olivia Dunham (Anna Torv) kidnapped on the other side and replaced by Fauxlivia (also Torv). Olivia's memory is altered to believe she is Fauxlivia, while Fauxlivia makes love to Peter Bishop (Joshua Jackson) and, without him knowing, gives birth to his child. Meanwhile, Walter (John Noble) and Walternate (Noble) both work to save their universes, knowing that one or the other must perish. Peter is in the middle, raised by Walter, but son of Walternate. With the season finale, "The Day We Died," airing this Friday, I'd like to take a look back at the three most recent episodes and try to figure out what to expect.

"Lysergic Acid Diethylamide" / "6:02 AM EST" / "The Last Sam Weiss" / "The Day We Died"

     The name of this episode is the scientific title for LSD, the hallucinogenic drug used occasionally on Fringe, as well as in the real world, mostly circa 1960's. With William Bell still trapped in Olivia's body, and seeing no way to get out, Bell takes LSD. Peter and Walter do, too, traveling inside Olivia's brain to try to find her before she is lost forever. A cross between Inception and The Matrix, the trio battle the dark parts of Olivia's psyche that try to kill them, all the while searching for their hiding comrade.

     What Bell is forgetting when he thinks Olivia will be fine inside her head while he borrows her body is that Olivia has more reasons to be scared than practically anyone. Experimented on as a child by Bell and Walter, then raised by a mean step-father (Chris Bradford), Olivia's mind is anything but a safe haven. Instead, her subconscious has created a terrible world, out to kill her, and her friends that dare to venture inside. I get why her step-dad leads the mob, but why is Nina (Blair Brown) also evil? What does Olivia see in Nina that the rest of us are missing?

     What results is that Olivia must defeat these dark feelings and take control again, which she does. This episode is one of the best because Olivia overcomes one more obstacle on her way to becoming a true hero. She is more powerful than she can imagine, which I'll touch on again later in this article, but she has a number of stumbling blocks before she finds her potential. Dealing with the demons within her own body is a major triumph on that road, and a turning point for Fringe as a series.

     The biggest mystery of the episode is the mysterious man with an X on his t-shirt that 'kills' Walter in the dreamscape. Peter brings him up to Olivia, who calmly replies that, while she has never met the man, she knows who Peter is talking about, and he will murder her. This is something Olivia has apparently thought a lot about, but remains unworried. What is up with that?

     As Bell, Peter, and Walter flee, they become cartoons, a really neat element to add to this episode. While the animated versions are not exact replicas, they are recognizable enough. Perhaps it is done because Leonard Nimoy did not wish to guest star, though he did lend his voice to the animated Bell. No matter what inspired the cartoon, it is very cool.

     Extremely welcome is a small subplot where Agent Broyles (Lance Reddick) accidentally ingests LSD, too, and must be taken care of by Astrid (Jasika Nicole). While the two rarely get meaty stories, it is exceedingly nice to have them in a few fun scenes together. Reddick masters the comedy to be had from the scenario, examining liquorice. He also unleashes some serious dark demons in his rant about death. Is it inspired by seeing the hacked up body of the alternate Broyles, sent over from the other side months ago? Either way, these moments beg for more Broyles and Astrid Fringe stories in the future.

"Lysergic Acid Diethylamide" / "6:02 AM EST" / "The Last Sam Weiss" / "The Day We Died"

     However things play out, it is fairly certain Fringe will be delivering a heck of an exciting finale! Catch the episode "The Day We Died" tomorrow night (Friday) at 9 p.m. EST on FOX.

     To catch up on the Fringe you missed, buy DVDs or watch episodes instantly on Amazon.com

     If you like my reviews, please follow me on Twitter! Click here for all of my Current Season Reviews.

Article first published as TV Review: Fringe: Countdown to the Season Three Finale on Blogcritics.

Fringe Keeps Getting Better

     A fan of FOX's Fringe from the onset, I did get a little bored with the case of the week mentality the first season, and to a lesser extent, the second, brought us often. However, after beefing up Olivia's (Anna Torv) story little by little over time, it soon became apparent that The Olivia Dunham Show, as my wife likes to call it, was something pretty darn interesting. Not only that, but Walter (John Noble) also got better and better arcs. Late last season, and even more so this season, the third member of the central trio, Peter (Joshua Jackson), has finally been given his due, too.

     Somehow, Olivia and Walter's parts are no less central, even after Peter stepped front and center, ending his long reign as the third wheel. I think making each week's individual mystery less and less important allowed room for the growth, and now the series often jettisons the weekly stand alone stuff altogether. This season's arc of Olivia being trapped in the alternate universe, as Peter fell in love with her counterpart, Fauxlivia (also Torv), has been amazing! Torv and Jackson have been able to show such raw emotions, and allow such deep feelings to be ripped to the surface, that both are having banner years.

     In past reviews, I have discussed the debate over what name the alternate Olivia should go by. Bolivia was a popular suggestion, and seemed to be first on the scene, although I preferred Fauxlivia, as I used in the preceding paragraph. This week's episode was the first to refer to her by a special name on screen, and they chose Fauxlivia, making the debate essentially over. Fauxlivia seems to have won.

     But names are semantics. Torv has brought both characters alive in ways both obvious and subtle, showcasing her immense talent. These are two very different women, who are at their core, nearly the same. It's a strange paradox that Olivia and Fauxlivia can be alike and different at the same time, but Torv has excelled in demonstrating that in ways that it's hard to express in words. A++ for her performance.

     Peter seems poised to suffer even more as the rest of the season plays out. Friday night, he went on a killing spree, taking down shape shifters sent by the other side. He justified this to himself and Walter by calling them soldiers, making them casualties of war, and helping Peter sleep at night in a way he wouldn't after committing murder. But it is murder, and Walter's concern that the ancient machine has negatively affected Peter seems a valid concern, since the serial killing thing is kind of out of character for Peter. How this will play out is a burning question, as well as what will happen to Peter concerning the ancient machines, one of which exists in each universe.

     Walter, who has always set himself apart as an amazing actor and essential piece of the show, is even more exciting now. He is a parent terrified for his son, but also thinking rationally most of the time for the first time in awhile, and willing to make sacrifices. He faced Peter's death only last week, and worried even more about Peter this week as test after test was performed on him. It's a change from the distracted scientist who doesn't care for others, and a welcome one. Walter and Peter's bond is the strongest on the show.

     The Observer (Michael Cerveris) last week seemed to reference Peter's death being among the upcoming events, but I am suspicious of this. Surely, Fringe would not kill off one of the central trio before a series finale? I could see Peter's death being one of the last things that happens on the show, although a happy ending with Peter and Olivia would be nice, so maybe Walter, being older, could somehow sacrifice himself and take Peter's place? But however it plays out, I don't see Peter dying in one of those machines this year. Unless it's a dying fake out of some sort. It would be kind of cool to see Olivia and Walter mourn Peter, though he couldn't possibly be permanently dead.

     The Observer saved Peter for a reason, unknown to us viewers, years ago, angering fellow Observers. That means Peter is vital to something in the two universe war. This plot arc seems finite, and closer to an end than a beginning. I really think things have to come to a head by the end of this season, with Olivia and co. facing down Walternate (also Noble), Fauxlivia, and the others. I don't see this going on for years longer, and the show is doing well enough that it is in no danger of immediate cancellation. Even the move to Fridays has only bolstered the ratings, not hurt them. Other shows that J.J. Abrams has been involved in have completely rebooted the plot after a couple of seasons, and always came out stronger than ever, so I'm not afraid of a reset. I'm excitedly anticipating one.

     I think the alternate universe story line has been fantastic. Normally when fiction tackles an alternate reality (I'm looking at you Star Trek and Star Trek: Deep Space 9), they face a reality drastically different than their own, often with evil versions of themselves. Yet, the Fringe alternate universe is quite similar. Sure, society and government have been drastically altered due to the rip factors on the other side. But our Walter clearly had the capacity for evil if his life had played out differently, and I can see how Walternate ended up the way he is. Other characters, like Charlie (Kirk Acevedo) and Broyles (Lance Reddick), are nearly the same man on both sides. Or were, as one of each has now been killed off. Which begs the question, were they killed (in the series or in the universe) because they were too alike, and it was repetitive to have both?
 

     Which brings me to the other main characters, who have too frequently been shut out of any real development. Seeing the alternate Broyles (who got no cool, trendy nickname and now probably won't) help Olivia escape was some of the best work Reddick has gotten on the show. Nina (Blair Brown) has had more to do with Massive Dynamic now under Walter's ownership, and the company working on the ancient machine, than she ever had before. Astrid (Jasika Nicole) has been more involved in what the rest of the team is doing, not just cleaning beakers in Walter's lab.

     It's a welcome change. All three of those actors are very talented, and were picked to star in Fringe for a reason. While the series is essentially a three person story, these other three can carry their own weight. In fact, letting Peter be believed dead for a little while might give them a chance to be fleshed out even more, and in that regard, I welcome the idea. However, seeing as how the writers made Olivia hallucinate Peter in the alternate universe episodes so that Jackson could keep starring every week makes me think that even if the characters think Peter is dead, he will probably still get ample screen time. I'm not asking for less Jackson, I think this is the best role of his career to date, but I would like a bit more fairness to Brown, Nicole, and Reddick.

      That aside, I have no complaints about this season of Fringe. It's tightly written, wonderfully exciting, super suspenseful, and beyond creative. Check out Fringe, now airing Friday nights at 9 p.m. on FOX.

Article first published as TV Review: Fringe Keeps Getting Better on Blogcritics.

For frequent mini-reviews and occasional TV news, follow Jerome on Twitter.