This blog was originally supposed to be only about the end
of “Fringe.” But given the developments with the future of “Star Wars” movies
the last few days, this blog has certifiably turned into a J.J. Abrams missive.
First, to touch upon the “Fringe” finale – it was a fun, but
more so it made miss all that made this sci-fi series terrific in its first
three seasons. Fox could be commended for giving Abrams and his cohorts the
creative freedom to handle the series finale as best they could in a limited
time.
The Observers didn’t make for a horrifyingly convincing set
of villains. They manipulated time and space. They were cold, calculating and
unfeeling. But I didn’t fear them. While Peter, Walter and Olivia did, in a
way, save the world, they didn’t do it with a flourish that I had anticipated,
considering the range of powers and intellect they possessed together.
Ultimately, a very special boy named Michael from far off
the future, recalled slightly in Season 1 and without saying a world, came on
in the final few episodes to make a crucial difference. He and Walter, by
happenstance, get zipped off into a future to prevent scientists from creating
Observers, from creating a group of humans devoid of emotion.
But you recall how crucial Peter Bishop’s existence was “in
this universe,” when he wasn’t supposed to be there, when only he could
activate the wave-sink device. Or Olivia and her Cortexiphan-enhanced
abilities, which apparently helped Windmark the Observer get squashed by a
pickup like a pancake. But that’s it.
All the main characters we had come to know and appreciate
during the past four and a half seasons had a part to play in the final few
episodes, yet the final-final 20 minutes of the last episode seemed a tad
rushed and even by-the-numbers. I almost wish that, in some way, Charlie
Francis could’ve made it into the finale or that we could’ve gotten more from
Peter and Olivia’s heroic, plucky daughter-to-be, Etta.
Instead, I choose to reflect fondly on a few key scenes in
the finale: Walter and Peter embracing one last time. We’ve seen Walter
dad-talk to Peter before, but not quite like this. The video that Walter had
the foresight to make and have Peter see, at this time, was chilling and
exquisite. Walter knew what fate had in store for him. He also knew that, while
the actions he took to “save” Peter all those years ago would hold dire
consequences for time and space, it was all worth it.
“I don’t want you to be sad. The time together we stole. I
cheated fate to be with you. And we shouldn't have had that time together but
we did. And I wouldn’t change it for the world. I don't want to say goodbye.
But I will say, ‘I love you son.’”
For all his occasional blubbering, that last hug between
Walter and Peter was tearful, mournful and heartfelt, as was that last line a
father shared with his once estranged son: “You are my very favorite thing,
Peter.”
Even Walter’s last scene with Astrid was a nice touch. We
all know how often Walter mangled her first name.
“It’s a beautiful name.”
“What is?”
“Astrid was a nice name.”
It reflected Walter’s off-kilter behavior so well. Astrid
and Walter had such a nuanced professional relationship. Through the years,
John Noble filled Walter Bishop with such a quietly powerful intellect and a
certain kind of grace. How the hell Noble has never been nominated for an Emmy
Award for his role is an injustice.
Certainly, also, the white tulip was a nice touch. It
symbolizes worthiness and forgiveness. It recalls a great, vital Season 2
episode by the same title where Walter prepped a letter, confessing to Peter
how he had “saved” him and owning up to the harsh consequences of his actions.
Walter himself received a drawing of a white tulip on paper
from a time-traveler who, like Walter, risked his life and the fabric of time
and space themselves to save a loved one from death, to reboot reality. Peter
receiving mail in a new reality, an envelope containing the white tulip drawing
from Walter. Fans held up white tulip drawings at the 2012 Comic-Con, where the
“Fringe” cast and crew made their final appearance.
On the whole, the “Fringe” finale was about fathers and
sons…Walter making amends with Peter, Peter keeping in mind the right way to
cherish his daughter’s lasting memory while fighting the Observers, Donald
helping his son Michael to escape to safety while himself getting killed. More
than temporal paradoxes and scientific anomalies, “Fringe” was about the bonds
that keep us together and help us to learn to what unimaginable lengths one
person goes to save another.
These and other little things amounted to the “Fringe”
finale being one huge sentimental send-off gesture. Aside from the clunky,
gory, action-packed battle in the climax of the final episode, Season 5 was
more along the lines of what I expected from Abrams and company, and not what I
hoped to see. Appropriately enough, Season 5 essentially is like that infamous
season of “Dallas” – a season that didn’t happen because our heroes retconned
the Observers out of existence.
Abrams and company chose the “Jughead” option – a nod to
nuclear bomb-time reset in “Lost” to create a paradox and tie up loose ends in
“Fringe.” It marks a fitting end to a fantastic if not spectacular sci-fi TV
series.
Season 5 left me somewhat satisfied yet exasperated. Then
again, J.J. Abrams’ creations will leave such an effect on the viewer. It
happened with “Alias,” “Lost,” “Cloverfield” and “Mission: Impossible 3.” For
as much as I appreciate Abrams’ embrace of sci-fi and geek nostalgia, early on
his movies and TV shows efficient, clever and entertaining. Then if it goes on
too long, things get convoluted, overboard and even uninspired at times.
So, it is with great excitement and trepidation that I say
to you, J.J., don’t screw up the “Star Wars” cinematic legacy. After Disney’s
announcement that there’d be more Star Wars flicks, the rumor mill regarding
directors, casting and storylines has been unbearable. It’s surprising to some
extent that J.J would sign on to take at least (as far as we know) one Star
Wars movie when he also guides the Star Trek film franchise. This alone is an astonishing fact.
I still hold mixed feelings. It’s fun and frustrating to
keep wondering what other director could bring to the table in a new round of
Star Wars flicks. But we have J.J. He has an eye for a rollicking visual style,
but indeed he has yet to maintain an even keel when it comes to keeping an
audience engaged with his type of “storytelling.”
As far as possible story goes, it would make sense for
Disney to tread into that expanded Star Wars universe beginning – HOPEFULLY –
with Timothy Zahn’s “Heir to the Empire” novel series. There’s conjecture on
the Internetz that new Star Wars movies won’t touch “Heir to the Empire,” but
let us remember that with J.J. in charge, disinformation and secrecy are of
paramount importance to the filmmakers.
A few folks have theorized the next movie trilogy would
involve a directing triumvirate of Abrams, Jon Favreau and Ben Affleck. If
nothing else we’ve learned from Star Wars movies that it’s not so much the
director as it is about crisp, concise, upwardly mobile storytelling to garner
success. There’s a bit of hope that lies with screenwriter Michael Arndt, who
gave us the scripts to “Toy Story 3” (aka the movie that made grown men cry)
and “Little Miss Sunshine.” And longtime Spielberg associate Kathleen Kennedy is
producing. It’s a strong pedigree providing for a solid foundation.
Regarding casting…oh God. Speculation is already at an awful
fever pitch. Could Josh Holloway make for a great “younger” Han Solo? Sure.
Could I see Cloverfield monster make an appearance as the rancor pit monster’s
long-lost cousin seeking revenge? Easily.
Good luck, J.J., you’ll need it. As for the scheduled
release date of 2015, which already boasts a Justice League flick and sequels
to “The Avengers” and “Avatar,” two years from now will be a cinematic doozy.
For once, at this point, I can’t wait to turn 40.
