Who Observes the Observers?

Season Two, Episode Eight

FRINGE: “August”

The FOX Network on Thursday Nights at 9 pm

By Tyler Weaver, Guest Columnist

Tyler Weaver

The bizarre multi-dimensional, trans-temporal Mad-Men clothed version of Marvel’s “Watchers” finally do more than “observe.”  They feel.  They love.  And they die.

Though I proclaimed last week’s episode the best offering thus far this season, it has immediately been overtaken by this one – a kidnapping to save a life, and the first solid inclination that something is drastically wrong in the universe – those who were only meant to observe have taken action, not out of some grandiose need to save the world, nor because “the very fabric of our lives” depends on it – but for selfish reasons. Out of love.

The most welcome thing about this episode was the return of something whose loss I had lamented only last week – a look at the private life of Olivia Dunham. Though it’s the standard story of “work getting in the way of family,” it was still a relief to have it back. Olivia can only interact with psychopaths, trans-dimensional shapeshifters, cybernetic redheads and Walter only so much before it gets old. In order for Dunham to be a well-rounded character, aspects of her private life have to be shown – and for the first time this season, they have been – to great effect. Not only did they give a pleasant counterpoint to the craziness, but revealed another interesting character trait of Dunham’s – the fear of roller coasters.

Special props have to go to Peter Woodward (the son of the recently departed and amazing British actor, Edward Woodward) who played the feeling, loving Observer, August. He commanded every scene he was in, an understanding pathos wrapped in a look of being completely overwhelmed and confused – and afraid. He didn’t know what he was doing. It was against the plan. He only knew that he had to do it, and that there was no going back for him. In particular, his diner scene with Walter, his death scene in the backseat of perma-Observer’s car, and every scene with the object of his affections, Christine Hollis, played by Jennifer Missoni.

Though I’ve praised John Noble’s performance as Walter at every turn, I have to put something out there. The fault I’m about to point out is not due to Noble’s acting – everything he does is perfectly in character, with nary a slip-up. The issue I have is with the “Walter’s hiding something!” shots. There are more ways to show that someone is hiding something than to have them look like they’re hiding something. Lingering past the last line of dialogue to show Walter’s inner turmoil is fine – but this episode took it to “evil twirly mustache villain guy” heights. I get it. He’s hiding something.  But then again, anyone who’s watched the show for any length of time knows he’s hiding something – though for completely understandable reasons. He’s the kid who doesn’t want to get caught for stealing from mom’s purse to buy her a Christmas present – or, in this case, for stealing the alternate version of his son because his son died.

Joshua Jackson provided the necessary quotient of “kicking ass.”  He turned in a solid performance, though he didn’t have much to do. One thing did stand out to me, though I may be mistaken on this one: his admonishment towards Walter, “we’re so close to answers!” or something similar. For me, it came out of left field. It’s a completely logical character development; he’s been in this whole deal for awhile, has his dad back, and wants to know what the hell he’s gotten himself into. Where it didn’t work, however, was that this development really didn’t have much of a genesis in previous episodes. Jackson, while good – great in many regards – seemed to be going along for the ride this season, having little to do besides being “the Walter Whisperer.” Perhaps his experience last episode (Broyles walking around in a sling was a welcome bit of continuity) triggered the development, but for what it was, it was a bit clunky. I may be wrong.

For all of their faults (I point out faults and issues because that’s the nature of the gig, and only because I love the show so much) I’ve been greatly enjoying the recent spate of “vignette” character-highlighting  done-in-ones – the Broyles episode, last week’s Peter-centric episode, and this week’s Observer-centric one. Hopefully we’ll get an Astrid-centric one soon. She deserves an episode of her very own, if, for the very least, her unfortunate status as Walter’s cherry cough-syrup filled milkshake concoction.

In the spirit of cherry cough syrup, Fox’s transmedia, viral marketing campaign for Fringe falls flat. I’m a big proponent of transmedia storytelling – I think it’s the future of storytelling in our increasingly connected age – but the marketeers still lack the necessary grasp on the show and the potential for the (multi)media. Perhaps it’s because the show has been poorly marketed since the beginning, and they’re just trying now to catch up. The “spot the Observer” campaign isn’t interesting.  It’s annoying, and comes across as such. Fox is blatantly trying to copy the viral marketing success of The Dark Knight, and it’s not working – because there’s not a set brand or theme in mind. “Weird shit meets Where’s Waldo?” is not a theme. It’s, at best, a haphazard ploy. As it stands, Fringe is a victim of its own strengths and peculiarities – the story is not simple, the themes are not simple, and the characters are anything but simple. I don’t envy Fox for having to sell the show. I really don’t. But perhaps a more simple, not-trying-too-hard marketing campaign is in order: word of mouth thanks to solid storytelling – not tricks.

The best thing I can say about this episode is that it made me loathe the fact that we have to wait another two weeks for the next “how to eat fried worms” episode. With the exception of a few minor hiccups, this episode was well-written, well-paced, well-directed, and extremely well-acted by all involved. Last week was a glimmer of hope that we’re back on track.  This week was the strong, silent proclamation of such.

Welcome back, Fringe.

The GOOD – Most of the episode, but especially Peter Woodward as August, the rogue Observer. Astrid the taste tester. “The flatulence… was horrible.” A glimpse at Olivia’s personal life. Peter’s kick-ass disarming of the Time Assassin. Episodic continuity, down to the sling sported by Broyles.

THE MEH – The “twirly mustache” asides with Walter. Peter’s clunky “We’re so close to answers!”

THE GAH – Nada.

Tyler Weaver is a guest columnist for pulptone.com and is an independent filmmaker, currently writing two feature scripts and producing a music video.