A recent issue of Entertainment Weekly examined networks’ efforts to find the next “Lost,” in terms of both quality and ratings, and determined that nothing fits the bill. I disagree: “Fringe” (8 p.m. Thursdays on Fox) — like “Lost,” produced by J.J. Abrams — is as good as “Lost” (maybe better), and it’s successful enough that it has been renewed for a third season.
But EW lumped “Fringe” in with nine other “failed” attempts at being the next “Lost.” I’d argue that “Surface,” “Threshold,” “Jericho,” “Day Break,” “Heroes,” “FlashForward” and “V” didn’t/don’t have the compelling characters or plot of “Lost,” so they are indeed “errors to the throne.” “Dollhouse” was a good show, but it was too culty to reach “Lost”-level ratings, so call it an “interesting failure.”
“Invasion” could’ve been the next “Lost” in terms of quality, but ABC canceled it after a season-finale cliffhanger. That’s why I don’t shed tears for ABC’s struggles with “FlashForward” and “V” — why should viewers stick with borderline-quality shows if the network itself isn’t loyal to those shows? (Although, truthfully, I canceled those two ABC shows from my schedule simply because I didn’t like them.)
But “Fringe” has a “Lost”-esque mythology and loyal fans. All it really needs is for Fox to do what ABC did with “Lost” and map out a guaranteed six-year plan where it won’t be canceled and it will have the ending the writers intend. If Fox did that, voila, there’s your next “Lost.”
Also, EW could help the “Next ‘Lost'” cause by giving “Fringe” the same worshipful treatment it has given “Lost” — a dozen cover stories, tons of Web analysis and even a weekly video show. Although the magazine seems to like “Fringe,” it has given the show only one cover story (last fall’s TV preview) and not nearly the level of Web attention it gives Abrams’ other show.
I think that will change, though, especially with “Lost” ending; “Heroes,” “FlashForward” and “V” on the verge of cancellation; and no “Lost”-type premieres on the fall schedule.
Yesterday’s episode, titled “Peter,” showed why “Fringe” is worthy of attention. It’s a marvel of technological achievement, it features an incredible performance by John Noble as Walter Bishop, and it’s a game-changer in the mythology (answering a bunch of questions and raising a few more).
When “Avatar” came out in December, James Cameron talked about how, instead of creating blue-skinned humanoids, he could’ve created actual humans in the computer — even versions of real human beings. As an example, he suggested that Clint Eastwood could make one last Dirty Harry movie looking like he did in the ’70s thanks to computer manipulation. Around the time “Avatar” hit theaters, the “Fringe” team must’ve been working on this episode (I imagine them doing the final edit in a secret lab like Walter’s), which does exactly what Cameron promised was possible.
When I first saw the 1985 Walter, I thought, “Uh-oh, I’m going to be distracted by the de-aging trick and won’t appreciate the storytelling.” But while “Fringe” uses Cameron-esque technology (along with tactical hair and clothing choices, and a slightly hazy cast over the images, which works just fine as a flashback indicator) to make Noble appear to be 25 years younger, I wasn’t distracted by the “wow” factor for long. Soon I was wrapped up in Noble’s acting. Even when a perfectly de-aged Nina Sharp (Blair Brown) popped up, I stayed focused.
(SPOILERS below for “Fringe” fans who are a bit behind on their DVR queue.)
The emotional centerpiece of “Fringe” is that Walter stole AlternaPeter from the neighboring dimension after his Peter died. In “Peter,” Walter unburdens himself to Olivia (who discovered Peter’s otherness thanks to her glowy vision, which was given to her by Walter when she was a kid) with the tale, which is worthy of both sympathy and horror. As Olivia, Anna Torv registers these reactions, mirroring mine and most viewers’.
When Walter promises his AlternaWife that he will return her dying son to her completely cured, he intends to keep the promise. He doesn’t look her in the eye when he says “I promise,” but that isn’t because he’s lying, it’s because it’s a difficult promise to give. (Strokes of directorial/acting genius like this are among the reasons why “Fringe” is among TV’s best shows right now.) But when Elizabeth finds him in the lab curing AlternaPeter, he looks in her eyes and realizes he can’t let her lose Peter twice. It’s a sympathetic act that show how much he and Elizabeth love Peter, but also a horrible act because he robs AlteraElizabeth and AlternaWalter of their son.
And if that’s not enough to make the episode brilliant, there is also the way “Peter” sets up future episodes. OK, now we know why and how Walter ended up with his AlternaSon; however, we don’t know why AlternaPeter doesn’t remember switching dimensions. He should: He was 7 when it happened, easily old enough for a major event like this to stay in his memory. Also, what will happen when Olivia tells Peter that he is from the other dimension (something the previews indicate she will do next week)? Walter has just gotten Peter back into his life, and he can’t bear to lose him again.
And I haven’t even mentioned the sly way “Fringe” sneaks in all its fringe science. This episode reminded me a bit of the Hugh Jackman movie “The Prestige” (with it’s marvelous array of magic tricks), especially Walter’s window into the other dimension. Visually, it’s just a pane of glass — it’s more ancient-looking than futuristic-looking — but because the characters immediately accept it as real (without “Star Trek”-ian mumbo jumbo explaining how it works), we also accept it as real — while also being kind of amazed.
The only way “Peter” won’t pop up on end-of-year best-episode lists is if “Fringe’s” upcoming episodes that surpass it. One thing is abundantly clear after witnessing Noble’s powerhouse performance and, really, everything about this episode: “Fringe” doesn’t deserve to be lumped in with the likes of “Heroes” and “FlashForward” and “V.”
It deserves to be mentioned with “Lost.” And actually, that’s a compliment to “Lost.”