A rejtély

Season 1 – 70% – Given the fascinating dynamics of all the relationships between the main trio, I almost don't want to complain, but I was simply expecting something more from the first steps beyond the Fringe. The comparison to The X-Files is perfectly accurate in terms of genre, slightly paranoid atmosphere, as well as the fact that even Mulder and Scully had their troubles maintaining quality in the first season and only later reached truly legendary storylines. The team around J.J. Abrams deserves credit for their efforts to tie together even the least attractive cases into one big narrative tapestry in the last two episodes. I may have many criticisms regarding the pace and paradoxical simplicity of individual plots, but when it is revealed in the very finale where the whole Fringe matter is likely to lead, all I want is to dive headfirst into this world. However, for now, I can only give it three stars in the rating, perhaps somewhat preemptively. Nonetheless, I have no doubt about the future improvement in quality. Season 2 – 70% – Surprisingly, it follows the same development as a year before. The purely episodic plots are almost shameful rip-offs of early The X-Files (the visions in Dream Logic, the telepathy in Of Human Action, the beings in Johari Window), and even though the relationships between characters remain the most delicious component, the long-term storylines achieve success only sporadically. The whole affair surrounding the shape-shifters seems somewhat stretched, while the foundations of the individual doorways connected to the passages give the necessary tension and emotions, especially in the excellent final two-parter, which unhesitatingly becomes the best story so far. I just wish that such a significant change in the game had a stronger follow-up than what happened between the first and second year. Because if the screenwriting team with such immense potential also squanders the next opportunity, all the efforts of the Bishop clan might become insufficient. Season 3 – 85% – The plot splits into two specific lines, where every banality can have fatal consequences, and the series finally stands on its own. The atmosphere of impending catastrophe, which sooner or later must arrive, has finally captivated me with the Harvard team, and the acting opportunities that are provided, especially to Anna Torv, are so ingenious that I can't stop marveling. The twist-packed (yet perfectly functioning) final episode is a leap into the unknown, which is even more endearing to me because it can end either as a triumph or an absolute disaster. Season 4 – 60% – A huge step backward that can't be justified by the fact that the series is starting or by an attempt to test the tolerance of its viewers. The reboot of the universe also encompasses a reboot of the concept itself, and after experiencing an engaging and often gripping serialized story a season earlier, the episodic supernatural procedural becomes maddening at times. However, when the trinity finally gets back together and fringe science crosses over the titular boundary, we can speak of a last-minute rescue. Still, I can't help but feel that the potential is possibly only 33 percent exploited, and all the time manipulations, alternative universes, Observers, and everything else are most of the time just backdrops for unnecessary repetitions like those involving David Robert Jones. However, there is one shining hope. The episode "Letters of Transit" is the best of the whole series and primarily hints at the end of an era. Only in this direction does the path now lead towards a dignified (and theoretically truly revolutionary) continuation. Season 5 – 80% – A step into the unknown, a new series, a change in genre. We can call the fifth season whatever we want, but we can't deny the courage of the creators. Just when one previously unthinkable storyline unfolds before me after another (Etta, Peter, and the Observer's identity, Donald), I realize over and over again that the original concept has become remarkably diluted over four seasons, and it's time to move on. And even though I'm not a big fan of the post-apocalyptic genre, J.H. Wyman, as the writer of all the crucial moments of later years, succeeded in this. Sometimes, he unnecessarily gets lost in several standalone episodic moments but then compensates with logically escalating tension, a perfect trio of final episodes, and pushing Joshua Jackson to his best performances. Although Fringe had its weak moments, and it wasn't always easy to look forward to the next episodes, it always managed to hit the right sensitive note at the end. Despite not fully realizing its potential, I mostly have positive memories of it. (2014.06.29) (kevesebbet) (több)

The pilot confirms my positive inklings. There is certainly a lot of research and research is one of my favorite topics. The team is fine too. Grampa scientist rocks and Ms. agent shows that Abrams has darn good taste. How could this have eluded me for so long? Season one softly, softly, just like we’re used to with J.J., he builds a firm foundation for the characters to stand on and introduces us to the situation. Then he starts to add a touch of technology and biology, experimenting. Again it feels as if they have stolen ideas from my head and made some episodes according to those ideas. The closer the finale draws near, the better it gets. I thought that I’d managed to kick it, but instead I’m hooked. Thanks a million! Season two from the beginning a parallel plot begins emerging, but this is quite a classic trick and the side-stories are compelling enough to keep the viewer interested. Belly’s participation nicely weaves into the story of the entire series, although we could have seen more of him (and differently). They step on the gas in the final episodes, even though I’m not sure if they aren’t changing the rules a little as they go, but there we are. The episode with the robbery from 1985 is the high point of the series so far. I hope we get more of that other world. Hit me with season three! Season three quality almost throughout. Sending Olivia “over there" creates incredible tension between the characters and the episodes from parallel space are refreshing like a raspberry soda on a hot day. The mythology gets thicker and the finale is the high point of the entire three-year effort. And just when you are picking your jaw up from the floor, one final twist emerges that forces you to click on episode one of the next season, and that’s as it should be. Beautiful work! Season four adds another aspect to the parallel worlds. It shakes up the relationship storylines nicely and old friend rise from the dead. David Robert Jones is or was really cool and it’s great that he’s back as William Bell in the flesh. The final episodes are all first-rate and the glance into 2036 lures you to the last season like the smell of a freshly baked lemon cobbler. Bring it on already! Last season everything has shifted lock, stock and barrel forward to the year 2036, with occasional side-steps into 2609, not absolutely traditional. It’s been conceived as a whole, aimed at defeating “those motherfuckers from the future" and to complete five year cycle of storytelling. So mainly... And it worked, of course with a couple of hiccups, but the nostalgia in the last episodes is literally lethal. All of the Fringe tricks and gadgets from past years are used as a means for eliminating villains. We get anti-gravity bullets (when you shoot somebody, they fly up into the air - cool, huh?), Peter as a calculating Superman, and even Green. Olivia is pushed a little into the background for this season, but comes out to rock in the finale. The nostalgic visit to the parallel world is superb. The finale is the tear-jerker that we are used to with Abrams. A young girl survives, an old man dies. Good trade. (2012.04.04) (kevesebbet) (több)