Fringe: 6:02 EST
Apr. 23rd, 2011 01:17 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
beccatoriaOkay, I'm writing this up a bit early and probably without quite enough thought because later today DOCTOR SONG comes back and I imagine that will eat my brain for a while.
So. That was actually...mostly pretty cool.
Basically let's get the thing you know I'm not gonna like out of the way. It's no surprise to anyone that I think they've dropped the ball on Peter's character and, as a result of that, on the romance between him and Olivia generally. But this episode really drove home to me the...waste of that I suppose. It's easy to just roll my eyes at it in other episodes, where it's the link to the ongoing plot while we investigate cases of the week and it's annoying.
But when you get a mytharc type episode like this, where all characters are in play and developing, it's...obvious the places where it falls apart and frustrating because if I'd been better sold on it earlier; if less odd choices had been made in certain instances... Like, this episode is actually pretty deft, emotionally. It's well-structured, it had good pacing, everyone was acting in-character, no one seemed like they'd stepped off of a soap set.
The romance aspect was underplayed after the first scene, and even that scene, which, yes, okay, personal choice I was a bit eyerolly, was, structurally, I think a narratively sound decision. Like, if I didn't dislike that romance, I thought the quiet contrast of what was happening at that moment in these various places, was appropriate rather than indulgent, and cheesy though the line was first time around, the point at which Olivia walks out to see the sunrise the following morning, on a very, very different world, without, this time, any lines to acknowledge it and coat it in cheese, was...not a writing decision I sneer at.
Similarly, Peter is being...very brave here. I have always understood him better with Walter and his scenes with him were strong. Yes, he's still reserved and disconnected, yes I still don't understand what he's thinking, but that doesn't need to impact on the fact that he's walking towards what is quite probably his death. In fact, his disconnection can even add to the quiet, early morning surreality that settled over the episode, like cold fog - the tone that I really appreciated.
But in both cases, I'm...not quite as involved as I think the episode - taken in isolation - deserved. I can't just forget that Peter was murdering shapeshifters and no one's asked him about it. That I still don't buy the romance between him and Olivia. I'm not trying to be a spiteful grudge-holder about this, it's just I can't forget. So it's there, like an underlying rhythm. Constantly reminding me that for all I want this to be the moment I finally get a read on Peter, the type of guy he is underneath - unhappy, practical bravery - I cannot quite convince myself it is.
Also, I may have inappropriately LOLed when, after all the build up to him getting IN the machine, he gets beatdown before he can even get in it. It was...kind of cartoony and lolarious.
To move onto the things I liked about it though:
I liked that Olivia is back and she is Olivia. No mistakes here, this is the same Dunham we've known since the Pilot. I liked that she was pissed at Nina for keeping secrets and practical in her determination to do something. I liked that she was using her knowledge of Over There to be useful and active. I liked the start of the show confirming that the "choose the Olivias" thing is bullshit. I (uh)happily admit that the romance did not live up to my expectations in how it was handled, but I was always, and remain, convinced that they were never going to actually play it out like a choice Peter has to make.
I suppose - and I am wary of sounding cruel towards the character but I can unironically say it is actually something I enjoy about him on a narrative level - I also enjoyed that once again, even when he tries to take action, Peter is prevented, restrained, rendered, once again, a tool and an object. (Oh but to see some of that from his perspective so I might care more on a personal rather than narrative level. Oh but that the show would explore how that would affect his behaviour in something other than surreal and immediately forgotten serial killer subplots).
I liked Walter. I liked that he acknowledged that this was his fault, that his opinion as a father had caused this mess and thus his opinion as a father now did not matter, even though I loved Broyles for saying it mattered to him. I suppose in some ways it goes back to Peter as Object, but there's something cruel, but utterly unavoidable, thematically, that Peter's life might be the necessary sacrifice to save both worlds. I mean, I don't think it'll play out that way, but it's the obvious potential choice that Walter can't not make because the last time he did that, two worlds were set on a course for utter destruction. As we find out more about not only the consequences of Walter's emotionally understandable choice to save Peter, but also the less emotionally or morally understandable stuff he got up to that exacerbated the situation, it's an impressive balancing act that the show manages to show enough remorse to maintain audience sympathy. Except I don't like the word remorse because that implies that you can do anything and then just say, "hey sorry," and I think what's going on with Walter is deeper than that. Perhaps it's just John Noble's acting. I can never explain why I don't find Walter Bishop reprehensible with words. This is why we have vids.
But to continue, one of the things I like about Fringe, thematically, is the sense of consequence and the way those consequences, while heavy and dire, lack glamour, lack melodrama, they just are. It is not fair that Peter has to die, but it is true. (Or at least, seems to be during the scenes which I am talking about).
I spoke at length about my feelings about Fringe and religion recently in a reaction post, so I won't go over it at length here except to say that a long time ago I would have been very concerned about Walter turning to God but it was actually really well done. Again kudos to John Noble. It felt...appropriate to find him in a hospital chapel with his son in hospital in a way that deliberately heading to an actual church would never have done. Noble hit the combination of hope for forgiveness, anger at God, and understanding he has no right to be angry, perfectly. I like when science fiction manages to hit those incredibly ridiculously epic, melodramatic statements with a sense of practical reality so that they don't come across as insane; it's a hard thing to do well. I think Walter telling God he knew his own crimes were unforgivable but requesting that he save his world was one of those, both because of the quiet way the show gives such long focus to a lone, unstable scientist, earnestly and undramatically asking that God save his world and meaning it quite literally, and needing to, and also because he didn't end that prayer the way we might expect him to. "Punish me, but spare my son." He doesn't ask that now. To hear him pray for salvation and not to mention Peter is...enormous, I think. (Oh Peter, you work so beautifully as a reflection for everyone else).
Another of those unironic literalisms scifi can sometimes pull off was Walternate; I am become death, destroyer of worlds.
I really enjoyed Altlivia here too. I like that she is now, unambiguously, our heroine. Her blunt, practical decision to take matters into her own hands; no second guessing. I like her for that - it's like Olivia with more swagger. Which is who she is. I wish she'd succeeded but I love her for trying. I love the symmetry of her being locked in her doppelganger's old cell. I love that the show has stopped apologising for treating her like a valid, heroic POV character.
I was also fascinated by Walternate's reaction to her. Not only that he took the time to talk to her and justify his actions - something I don't think he would have done with many others - but that he doesn't turn on her entirely either. It would be easy to have him throw her in a stockade for treason and take his grandson by force as a replacement for his own son. But that's never even a shadow of a threat.
His treatment of her reminds me of nothing so much as a King punishing a wayward Prince for a rebellion. Walternate is nepotistic and arrogant. He wants to convert Olivia, not discard her. And goodness how interesting if the show is as interested in the emerging relationship between Walternate and Altlivia as it is in the one between Walter and Olivia.
FINALLY. HENRY! YAY! Honestly I'm not entirely sure how much sense that makes since she knew the guy for like five minutes, but if she liked the name anyway, why not. In my head his middle name isChrist Philip.
I also like to think that this means that she is still in touch with Henry. Maybe they can be friends. You know, when she gets out of jail and shit.
And, I'm done. :)
So. That was actually...mostly pretty cool.
Basically let's get the thing you know I'm not gonna like out of the way. It's no surprise to anyone that I think they've dropped the ball on Peter's character and, as a result of that, on the romance between him and Olivia generally. But this episode really drove home to me the...waste of that I suppose. It's easy to just roll my eyes at it in other episodes, where it's the link to the ongoing plot while we investigate cases of the week and it's annoying.
But when you get a mytharc type episode like this, where all characters are in play and developing, it's...obvious the places where it falls apart and frustrating because if I'd been better sold on it earlier; if less odd choices had been made in certain instances... Like, this episode is actually pretty deft, emotionally. It's well-structured, it had good pacing, everyone was acting in-character, no one seemed like they'd stepped off of a soap set.
The romance aspect was underplayed after the first scene, and even that scene, which, yes, okay, personal choice I was a bit eyerolly, was, structurally, I think a narratively sound decision. Like, if I didn't dislike that romance, I thought the quiet contrast of what was happening at that moment in these various places, was appropriate rather than indulgent, and cheesy though the line was first time around, the point at which Olivia walks out to see the sunrise the following morning, on a very, very different world, without, this time, any lines to acknowledge it and coat it in cheese, was...not a writing decision I sneer at.
Similarly, Peter is being...very brave here. I have always understood him better with Walter and his scenes with him were strong. Yes, he's still reserved and disconnected, yes I still don't understand what he's thinking, but that doesn't need to impact on the fact that he's walking towards what is quite probably his death. In fact, his disconnection can even add to the quiet, early morning surreality that settled over the episode, like cold fog - the tone that I really appreciated.
But in both cases, I'm...not quite as involved as I think the episode - taken in isolation - deserved. I can't just forget that Peter was murdering shapeshifters and no one's asked him about it. That I still don't buy the romance between him and Olivia. I'm not trying to be a spiteful grudge-holder about this, it's just I can't forget. So it's there, like an underlying rhythm. Constantly reminding me that for all I want this to be the moment I finally get a read on Peter, the type of guy he is underneath - unhappy, practical bravery - I cannot quite convince myself it is.
Also, I may have inappropriately LOLed when, after all the build up to him getting IN the machine, he gets beatdown before he can even get in it. It was...kind of cartoony and lolarious.
To move onto the things I liked about it though:
I liked that Olivia is back and she is Olivia. No mistakes here, this is the same Dunham we've known since the Pilot. I liked that she was pissed at Nina for keeping secrets and practical in her determination to do something. I liked that she was using her knowledge of Over There to be useful and active. I liked the start of the show confirming that the "choose the Olivias" thing is bullshit. I (uh)happily admit that the romance did not live up to my expectations in how it was handled, but I was always, and remain, convinced that they were never going to actually play it out like a choice Peter has to make.
I suppose - and I am wary of sounding cruel towards the character but I can unironically say it is actually something I enjoy about him on a narrative level - I also enjoyed that once again, even when he tries to take action, Peter is prevented, restrained, rendered, once again, a tool and an object. (Oh but to see some of that from his perspective so I might care more on a personal rather than narrative level. Oh but that the show would explore how that would affect his behaviour in something other than surreal and immediately forgotten serial killer subplots).
I liked Walter. I liked that he acknowledged that this was his fault, that his opinion as a father had caused this mess and thus his opinion as a father now did not matter, even though I loved Broyles for saying it mattered to him. I suppose in some ways it goes back to Peter as Object, but there's something cruel, but utterly unavoidable, thematically, that Peter's life might be the necessary sacrifice to save both worlds. I mean, I don't think it'll play out that way, but it's the obvious potential choice that Walter can't not make because the last time he did that, two worlds were set on a course for utter destruction. As we find out more about not only the consequences of Walter's emotionally understandable choice to save Peter, but also the less emotionally or morally understandable stuff he got up to that exacerbated the situation, it's an impressive balancing act that the show manages to show enough remorse to maintain audience sympathy. Except I don't like the word remorse because that implies that you can do anything and then just say, "hey sorry," and I think what's going on with Walter is deeper than that. Perhaps it's just John Noble's acting. I can never explain why I don't find Walter Bishop reprehensible with words. This is why we have vids.
But to continue, one of the things I like about Fringe, thematically, is the sense of consequence and the way those consequences, while heavy and dire, lack glamour, lack melodrama, they just are. It is not fair that Peter has to die, but it is true. (Or at least, seems to be during the scenes which I am talking about).
I spoke at length about my feelings about Fringe and religion recently in a reaction post, so I won't go over it at length here except to say that a long time ago I would have been very concerned about Walter turning to God but it was actually really well done. Again kudos to John Noble. It felt...appropriate to find him in a hospital chapel with his son in hospital in a way that deliberately heading to an actual church would never have done. Noble hit the combination of hope for forgiveness, anger at God, and understanding he has no right to be angry, perfectly. I like when science fiction manages to hit those incredibly ridiculously epic, melodramatic statements with a sense of practical reality so that they don't come across as insane; it's a hard thing to do well. I think Walter telling God he knew his own crimes were unforgivable but requesting that he save his world was one of those, both because of the quiet way the show gives such long focus to a lone, unstable scientist, earnestly and undramatically asking that God save his world and meaning it quite literally, and needing to, and also because he didn't end that prayer the way we might expect him to. "Punish me, but spare my son." He doesn't ask that now. To hear him pray for salvation and not to mention Peter is...enormous, I think. (Oh Peter, you work so beautifully as a reflection for everyone else).
Another of those unironic literalisms scifi can sometimes pull off was Walternate; I am become death, destroyer of worlds.
I really enjoyed Altlivia here too. I like that she is now, unambiguously, our heroine. Her blunt, practical decision to take matters into her own hands; no second guessing. I like her for that - it's like Olivia with more swagger. Which is who she is. I wish she'd succeeded but I love her for trying. I love the symmetry of her being locked in her doppelganger's old cell. I love that the show has stopped apologising for treating her like a valid, heroic POV character.
I was also fascinated by Walternate's reaction to her. Not only that he took the time to talk to her and justify his actions - something I don't think he would have done with many others - but that he doesn't turn on her entirely either. It would be easy to have him throw her in a stockade for treason and take his grandson by force as a replacement for his own son. But that's never even a shadow of a threat.
His treatment of her reminds me of nothing so much as a King punishing a wayward Prince for a rebellion. Walternate is nepotistic and arrogant. He wants to convert Olivia, not discard her. And goodness how interesting if the show is as interested in the emerging relationship between Walternate and Altlivia as it is in the one between Walter and Olivia.
FINALLY. HENRY! YAY! Honestly I'm not entirely sure how much sense that makes since she knew the guy for like five minutes, but if she liked the name anyway, why not. In my head his middle name is
I also like to think that this means that she is still in touch with Henry. Maybe they can be friends. You know, when she gets out of jail and shit.
And, I'm done. :)
