There's An Alt-Universe Where J.J. Abrams Doesn't Exist

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.