And to be honest, as much as I enjoyed the boldness of this turn, I didn’t like what it was doing for Walter (I haven’t been enjoying his whole “Peter-I-need-you-to-stop- your-madness-so-you-can-save-me-from- my-madness!” angle on the whole thing) or the group dynamics. While I’m sure Peter’s brief stint as a mechanical animal will have ramifications for episodes to come, I think Fringe gave us just enough of his Observer daze before it became too much.
I loved how this scene involved a ledge (okay, a balcony) and actual plug pulling (Peter yanking the Observer all-spark out of his skull). Olivia managed to talk Peter off the ledge of escalating dehumanization and convince him to pull the plug on his Observer makeover. It was great to see singer/actress Jill Scott grace the Fringe world, but Simone the faithful, magical barter town scrapper, a big believer in “mysteries of the universe” mumbo jumbo, flirted with a trope that deserves to be sent to the junkyard.īut the ending was a significant piece of business. But the mushy right brain stuff felt forced and stale. The cool left brain stuff was chilly neat: Peter playing Adjustment Bureau with Captain Windmark’s life using the chutes and ladders of well placed coffee cups and broken elevators Olivia going MacGyver to whip together a weapon and an escape from the highwaymen who wanted to sell the wanted woman for reward. “The Human Kind” worked these motifs anew, and worked them hard.
The sci-fi saga has usually expressed and dramatized this philosophical clash with great intelligence, artfulness, and fairness to both sides of the divide, even if the show has routinely favored Romanticism over Rationality. Many are the ways you can rephrase and reformulate the thematic conflict that has fueled Fringe’s storytelling engine for five seasons.
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