Posts tagged as:

Crazy Rants

Post image for The iPad: Where’s the objectivity?

I came across an article by New York Times’ David Pogue about the polarizing aspect of the iPad.
He writes:

The haters tend to be techies; the fans tend to be regular people.
Therefore, no single write-up can serve both readerships adequately. There’s but one solution: Write separate reviews for these two audiences.
Read the first one if you’re a techie. (How do you know? Take this simple test. Do you use BitTorrent? Do you run Linux? Do you have more e-mail addresses than pants? You’re a techie.)
Read the second review if you’re anyone else.

Besides the fact that this article is stuck in a 1999 cliché of what a “techie” is, my problem with this is Pogue gives a false sense of objectivity (showing both sides of the coin).
The thing is, not only is the so-called “anti” review comprised of just a basic spec list, but the whole article is overwhelmingly biased towards the iPad.
The “pro” review (three times the size of its counterpart), praises the same aspects of the tablet that, well, everyone else seems to praise (regardless of if they’re actually good/relevant/comparable, or not).

As I was reading through the review, it became clear that the author was enamored with the device – and so was the rest of the press corps.
Save for those few “techie” websites, every news outlet raves about the iPad, totally disregarding its many flaws.
Everyone is saying how “revolutionary” is is. And both Newsweek and Time have made iPad their covers.

The problem is that they’re buying their own hype.

Apple declares the product “magical”, and then on the other end the press emphasizes it to the point where you don’t know if some massive brainwash has occurred.

It’s as if people are more than happy to jump on the Apple bandwagon instead of taking a step back, and provide reasonable critical thinking.

The press is duping the public in thinking that a severely limited $500 tablet is better than a versatile $300 computer.
We all know people love to touch their stuff, but come on.
You can’t throw away all your other devices (laptop, home-computer, phone), and just use the iPad (that kinda looks like a clunky iPhoto Frame).

Apple knows their niche and exploited it to the max.

Wall Street Journal’s Walter Mossberg says:

After spending hours and hours with it, I believe this beautiful new touch-screen device from Apple has the potential to change portable computing profoundly, and to challenge the primacy of the laptop.

If I understand this right, a tablet with a 4:3 screen and the same processor as my phone will replace my computer that has ten times the specs and power.
I’m sorry but intuitiveness is not the only thing that should make or break a technological device. Especially one that is positioning itself as a laptop-killer.

Going back to the New York Times article:

The iPad’s killer app, though, is killer apps. Apple says that 150,000 existing iPhone apps run on the iPad.

How are phone apps working on a fake laptop supposed to be a “killer app”?
For that matter, how is a laptop having apps anything new?
Ever heard of something called “software”? You know that your netbook can run programs too, right?
And they’re not limited by the iTunes store.
I can understand why having exclusive apps for the iPhone that no other phone can do might be interesting, but if your laptop-killer can’t even run laptop-level apps (Photoshop?) , you’ve got a problem.

And no, it can’t handle Adobe Flash.
What’s the reasoning? Steve Jobs says it’s “buggy.”
Nice personal vendetta.
Again, I can understand why the iPod Touch might not be able to handle Flash, especially seeing that web-surfing is not its primary component.
On the other hand, the iPad is marketed as a device made for web-surfing. And yet it can’t fully access it.
Steve Jobs called the iPad “the best web experience you’ve ever had,” though why shell out $500+ to only access a tenth of web content?

There’s also no multitasking, or more specifically app concurrency.
This is not hyped to be a one-app device, and yet you cannot run two apps at the same time (despite the size and speed).

Regarding its e-book capabilities, and the fact that the iPad is not an e-Reader, we’ve already covered that part in full detail.
Though I do get annoyed when the iPad’s e-reading function is praised for details like:

When you turn a page, the animated page edge actually follows your finger’s position and speed as it curls, just like a paper page.

I’m sorry, I didn’t realize that an animation of a page turning was more important than the actual book page.
When you read a book, do you spend much time looking at how cool the page turning is, or more time reading the actual thing?

This ode to the iPad has even reached television, with Modern Family dedicating this week an episode to the device.
I don’t know what is scarier: the fact that an entire storyline was crafted around the iPad, or that Apple didn’t have to pay for it.

Time Magazine’s review does have an interesting point towards its very end:

The iPad shifts the emphasis from creating content to merely absorbing and manipulating it. It mutes you, turns you back into a passive consumer of other people’s masterpieces. In that sense, it’s a step backward.

The iPad is a media consumption device, but it’s too damn limited.

Which brings me to Final Draft.
You’ve probably heard by now that the company is developing an app for the iPad.
The Final Draft app will primarily be designed to make small edits here and there, but I get the feeling that, even with a great screenwriting app, the iPad isn’t comfy enough for script edits.
Typing pages of text on a virtual keyboard? You must be joking. You can’t even write on your lap.
Except for short e-mails or messages, not much will be able to be done it feels like.
I’m still waiting to see how this one plays out though.

I think Engadget’s Ross Miller nailed it when he described the iPad as:

A jack of some trades, a master of none.

The press felt bummed out they didn’t call the iPod or the iPhone as the game-changer they were, so this time around they’re all too keen to declare the iPad as the greatest gadget that ever was.
I’m not saying the iPad will bomb (it probably won’t), I’m just expecting a little more neutrality from a medium that is supposed to be unbiased and shouldn’t get “all tingly inside” when reporting about a flawed device.

And as for why ABC and CBS putting their TV shows on the iPad for free is a dangerous thing, that’s a story for another time.


Email This Post Print This Post

1 comment

Today it was announced that Yankee’s A-Rod “turned down multiple overtures to host Saturday Night Live.
As he puts it:

I finally figured out to make the game the priority. Ultimately I am a baseball player. This is what I do best and what I should be concentrating on.

I say that’s very good news.
However, some people seem to disagree:

What???? How could that be? Doesn’t he know that hosting “SNL” is one of the perks of being a superstar New York athlete? Turning down the chance to host “Saturday Night Live” is like telling Oprah Winfrey, “No thanks, I’d rather not be on your show.” It’s just not done!

This might be a good analogy if you were an actor/actress, or an entertainer.
We’re here talking about a professional sportsman.
I’m sorry to burst your bubble, but I doubt many people enter pro sports to one day host SNL.
“Geez I wish I could meet Lorne Michaels… If only I had 14 gold medals. I bet that would be a good way to do it.“
Not only that, but if I were an athlete even remotely interested in this, I’d reconsider simply based on the fact that, you know, I can’t act.

Need I remind you peeps of the last time a sports guy hosted the show?


Reading from a teleprompter is not the same thing as being funny.
Even Christopher Walken knows that.

This trend has especially intensified these last couple of years with Peyton Manning, LeBron James, Michael Phelps, and, point out above, Charles Barkley (arguably one of the worst SNL host of all time).
As we already saw last September, the latest seasons’ hosts (save for a few) haven’t really been varied, or even good.
We should rejoice that an athlete turned down Saturday Night Live and save us eye-bleeds (even for the wrong reasons).


Email This Post Print This Post

Be the first to comment

Well, that surely was riveting (not).
Sure, The Hurt Locker probably wasn’t the best 2009 movie, but nowadays I’m happy if good work is even recognized.
So, yay.

I was pleasantly surprised by Neil Patrick Harris’ opening number.
At least they know who to call for these sorta things.

On the other hand, this didn’t really show much confidence in Alec Baldwin/Steve Martin’s duo (not even seen on stage until the fifth minute).
Twice the host, half the screentime.


The banter following their arrival felt tame at best.
It almost seemed as if they were listing a bunch of famous celebrities in hopes that fangirls all around would “squee”. Alas that wasn’t the case.
Clooney certainly didn’t seem to care about the ceremony.
The jokes themselves didn’t feel much inspired.
Case in point with James Cameron’s “micro-roast” that revolved around, you guessed it, 3-D glasses.

Did anyone else notice that, right after Steve Martin made his joke about Christoph “Jew Hunter” Waltz having hit “the motherload”, they cut to…Ethan Coen?!
Bad taste much?

I was surprisingly surprised at one win: Best Foreign Language Film.
Seemed as if Das Weisse Band was going to get it. Ended up going to El Secreto de Sus Ojos.
Yes, I’m happy about that.

Another shock came when Michael Giacchino was given the Oscar for Best Original Music.
No, I wasn’t shocked because he had won, rather because he hadn’t won before that.
Indeed, this was his first Academy Award ever.
What a shame it didn’t happen sooner. Though great speech.
Incidentally, I’m actually listening to one of the Lost soundtracks as I’m writing this.
And a note to Jennifer Lopez: it’s pronounced Ja-Key-No.

Continuing on the Lost–related talk:
If you were thinking that J.J. Abrams, or, hell, even Terry O’Quinn/Michael Emerson, were going to win an Oscar way before the guy playing Minkowski, think again.

If you’re wondering about that “Kanye West” moment, as people are calling it now, check this out.

Up winning best animated film was a disappointment.
I wish Coraline or Fantastic Mr. Fox had the award.

What’s up with Colin Farell being Jeremy Renner’s actor-buddy on stage and talking about SWAT?!
Weren’t TPTB able to get, I don’t know, any co-star from The Hurt Locker?
Seriously, who thought we would hear about that SWAT movie ever again, let alone at the Academy Awards?

Anyhow, the horror tribute was a bit weird since it included a bunch of movies I’d describe as belonging to the “fantasy” genre (Edward Scissorhands to name just one).

Speaking of, the award for the scariest moment of the evening goes to:


Who knew a comedian painted in blue was going to be a highlight.
Haven’t seen that on TV since a guy named Tobias.

Notice my total lack of thought regarding the major categories.
That’s because I don’t have any.
I’m obviously happy for Bigelow (they took their sweet time to make the historic kudos).
Big “duh” for all the other wins.
And that’s about it.

To finish us off, here’s the genius Modern Family promo they made especially for the Oscars:


Email This Post Print This Post

1 comment

Post image for I am an asshole.

Just as Yom Kippur ends, I find out someone has posted the following comment regarding my “Fringe is unoriginal” post:

If you honestly think that your stupid post will steer people away from watching Fringe, YOU ARE SADLY MISTAKEN! Grow up, asshole!

Okay, my cover has been blown: I’m an immature asshole.

Indeed, I’m really bitter about being rejected from the Fringe writing staff so I decided to write a two-parter out of pure spite.
That’s basically the same reason why Jon Stewart decided to bash CNBC. The network had rejected him the year prior from being their new spokesperson.

I acknowledge that Sliders and the Kromaggs are pure inventions of mine that I retroactively created after seeing the Fringe Season Two premiere.
I went back in time impersonating both Tracy Tormé and David Peckinpah, and later went on to get that “parallel universe show” made, with all the while in the back of my mind this vague idea that, a decade later, I would post on some semi-obscure blog how this awkwardly-named series Fringe looks so much like a poor man’s Sliders.

So, yeah, I agree with you that I’m an asshole for showing the many ways something pretending to “revolutionize a genre” or be “original” actually is not.

Secondly, I also admit that I was angling for people to stop watching Fringe altogether after reading my post.
Not to be an egomaniac on top of being an asshole, but it’s pretty obvious everyone follows my advices.

If we take a look at what happened in the past year:
- The Middleman ended its second season with ground-breaking ratings;
- Stephen Colbert was named president both in the Marvel universe and our actual universe;
- The Jay Leno Show got taken off the air a week before it premiered;
- The MacGruber movie was never made;
- And, just recently, Flight of the Conchords and Breaking Bad won Emmys for being the best shows in their categories.

Though, for the record, I wasn’t asking anyone to stop watching Fringe. I was merely pointing out the awkward similitude the show has with another science-fiction series dating back to the mid-90s.

Mea culpa.


Email This Post Print This Post

Be the first to comment

Post image for FlashForward premiere: See how I (don’t) care

FlashForward premiere last Thursday at long last.
I’ve been talking about it since last year and read at the time the pilot script. I liked (loved?) it, so, needless to say, I was anxiously waiting for the final result. I wanted to like this series premiere, I really, really wanted to.

And, in the end, I was very disappointed.
Perhaps I expected more from it, but the pilot script delivered, so how come the end result didn’t?
Let’s take a look at the various negative points from the broadcast version.

First, the opening. Okay, I get it, you want to hook the viewer in. But come on, where’s the originality? The opening scene was like a rehash of Lost’s. Even down to the character’s facial expressions!

But one of my biggest quarrel has got to do with the directing. I’m sorry David S. Goyer, but you don’t know how to shoot. What’s up with you zooming in on everything? Did you just discover the “zoom” function on your camcorder?
The same can be said about all the color filters (blue and orange). For a second there I thought I was on a Canadian show.
In reality, the shot of the (real opening) suburban setting, coupled with the lame transition before it (or was that the credits?) were my first clues that I was watching a Lifetime movie of the week.

Another being the scope of the disaster getting neglected altogether. It’s as if no one cares than a billion people died almost instantly! At least with Lost you could feel the mayhem following the plane crash. Here it’s just people going from one point to the next. There’s barely any interaction. Important conversations are discussed casually, and what should be intense emotions or scenes are almost done matter-of-factly.
The chilling “I dreamt there were no more good days” uttered by Charlie Benford was supposed to be a major moment hinting at the chaos ahead. Instead, you have an almost laughable (dare I say clichéd) scene.
There’s just no soul to it, and Goyer doesn’t care. He keeps on moving to the next scene. Hell, even the flash-forward, arguably the most pivotal scene, is supposed to last 2 minutes and 17 seconds, yet on the show it’s barely 50 seconds!
You don’t have time to know the characters either, they’re like zombies. The relationships all fall flat on their faces. The “I hate you” notes left by Olivia to her husband seemed more mean than anything else. You basically don’t feel for the characters. The scene where Bryce Varley is on the verge of killing himself is barely glanced at. I was expecting a better set-up than him randomly walking up to the beach, pulling a gun, and ten seconds later having his flash-forward. That wasn’t what the script called for!
In the script, actual character beats opened and closed the series premiere. The show began and closed with Mark Benford in his daily life. Instead, here we got a wannabe Lost opening and an OMG moment at the end.

Continuing on the Lost comparison, Ramin Djawadi’s music score was pretty generic. I was awaiting a Michael Giacchino-type level of orchestra; all I got were some bland notes.
The VFX were also pretty awful, not even worthy of Battlestar Galactica.


There’s even this out-of-place kangaroo echoing Lost’s polar bear.
You do realize that you don’t need an exotic animal in a random spot to do a good mystery show, right?

Overall, what worked on the page didn’t work on screen.
I don’t blame the writing though, I blame the plain directing and editing.
A two-hour premiere (and a better-suited director!) would probably have given enough time to develop both the story and the characters. Sadly, this wasn’t the case.
Better luck next time.


Email This Post Print This Post

Be the first to comment

Post image for The unoriginality of Fringe (Part Two)

Following yesterday’s post (where we saw why The X-Files still surpasses Fringe), we’ll now be discussing how the Abrams/Orci/Kurtzman show is actually getting its ideas from another source.
It seems that with this “parallel universe” story, the writers are beginning to get “inspired by” another science-fiction show, Sliders.

Yet again, I’ll be talking about Fringe up to, and including, its Second Season premiere. In addition, I’ll be making numerous references to major Sliders plotlines, so tread carefully (even though the show has been off the air for almost a decade).

Is imitation the sincerest form of flattery?
Fringe is no more “science” than it is “fiction,” especially now that we’ve been officially introduced to parallel worlds.
In reality, it’s just a convenient way to answer everything that’s unanswerable. Unsurprisingly, a self-cutting neck is not scientifically realistic, despite what the writers want us to think. Stop wondering why someone has a bionic arm, the answer is obvious: it comes from another universe!
And if you’re still thinking that the writers know their science, just take a look at who wrote (and directed) the season premiere: Akiva Goldsman, the writer behind the 1998 movie adaptation of Lost in Space with Matt LeBland (no typo). If I recall correctly, that movie was actually a documentary about space exploration. I mean, its use of “time bubbles” was simply astonishing.

In the meantime, here’s a brief history of Sliders.
From 1995 to 1999, the series ran for five seasons, including three on FOX. Created by Tracy Tormé & Robert K. Weiss, the series dealt with a group of people that get sent to parallel dimensions. Tormé and Weiss “left” the show after several problems with the network. Ultimately, SciFi Channel took over after the series’ third season, but by then David Peckinpah, who’d been made showrunner the year prior, had already ran the show into the ground by completely abandoning the concept of alternate histories and going into a more action/adventure direction. Sliders at its core was a show about the exploration of parallel worlds (which isn’t what Fringe is about–yet), but the series shifted focus during Season Three with the introduction of the Kromaggs (more on that in a second).

Sure, as soon as the multiverse is used on a show, Sliders is always brought up, but this time though it’s with good reason as the similarities between the two are beyond eerie.
Ironically, the writers seems to take from Sliders its worst storylines.

The main one being of course the Kromaggs, a parallel version of humanoid primates, and “a technologically advanced and highly militaristic race bent on conquering all human-dominated alternate Earths.”
They also have psychic abilities, such as the power “to project illusions and plant post-hypnotic suggestions into human minds. One episode had one Kromagg attempt to force data out of someone’s minds by touch, similar to Star Trek’s Vulcan “mind meld”.” Moreover, they also have “healing powers, whereby they can heal people with their minds.”

Okay, so now that you know what Kromaggs are, let’s take a look at the two main opposing forces in the Fringe ‘verse, symbolized by the mysterious group called Zerstörung durch Fortschritte der Technologie (“Destruction through Technological Progress” or simply ZFT).
io9 briefed us on the group’s motives:

Bioterrorist group ZFT is responsible for many of the experiments the Fringe team investigates. ZFT’s extensive network of scientists perform bizarre and often deadly experiments on other human beings — like infecting a woman with a form of vampiric syphilis or growing fast-aging humans. In addition to their biohacks, ZFT possesses some technologies developed by Walter Bishop, including a teleportation device.
But there’s also a method behind ZFT’s biological madness. ZFT members operate according to a manifesto that states two key things: there is another dimension more scientifically advanced than our own, and in the coming interdimensional war, only one dimension can survive. ZFT is out to create an army of biologically enhanced supersoldiers who will fight for our dimension in that war. But there’s also a chapter missing from ZFT’s manifesto — one that outlines ethics.

In the second season premiere of Fringe, we got introduced to this enemy from the “other side,” notably a shape-shifting soldier that is both very agile and very resistant.

So, to summarize, we have, on both shows, technologically advanced supersoldiers with powers, from a parallel universe, trying to destroy humans and other worlds.
It’s pretty much the exact same story.
Oh, and the shape-shifters also look like Kromaggs.


The similarities do not stop there.
Peter Bishop’s parallel world origins seem oddly comparable to that of another main character from Sliders, Quinn Mallory. Even though for the majority of the series we believe Mallory is from Earth Prime, it turns out that he’s not.
[Quinn Mallory is] from Kromagg Prime, an Alternate earth where humans and Kromaggs coexisted until a civil war broke out between the two species. He learned that he was transported to Earth Prime when he was a baby and left with his parents’ doubles. When his parents came back to get him, his adoptive parents were too attached to him so they hid Quinn, and Quinn was raised on Earth Prime.

Replace “Quinn Mallory” by Peter Bishop, “parents” with Walter Bishop, and “Kromaggs” by parallel world enemies, you’ve got the whole series’ arc for Peter and his enigmatic past.

Arguably, one might even say another major plotline was ripped from Sliders, its fifth season’s borefest around Mallory (also known as Quinn2 or Quinn Mallory 2.0).

In the show, two of the main characters (Quinn and Colin Mallory) were “fused” into one. During the whole season, they’re trying to find a way to unmerge the two.
Sounds familiar?
That’s because the same storyline ran for half a season on Fringe. The consciousness of John Scott gets inadvertently transferred into her former partner’s mind, Olivia Dunham. There was even an episode where Olivia’s persona was about to be lost forever. Fortunately, John finally leaves Olivia alone midway through the series’ first season.

Last but not least, we have the mysterious character of William Bell, who seems to overshadow not only ZFT but several parallel universes thanks to his Massive Dynamic conglomerate.
In the second season premiere of Sliders, we meet a mysterious character named the Sorcerer (turns out, he’s an alternate version of Quinn Mallory). Anyways, this “Sorcerer” seems to be able to control the multiverse technology in the same way William Bell does.

For one, he knows much more about the tech than anyone else who’s ever been encountered on the show. He’s also able to capitalize on his interdimensional knowledge, the same way Massive Dynamic exports the numerous advancements it gets from other worlds.
Ding, ding, ding! You’re a winner.

If we look deep enough, other resemblances will probably be found with other science-fiction series.
Who knows, perhaps the writers will totally shift focus and lose their “evil alternates” stories. Probably not
though.
But at least now, you’ve been warned about Fringe’s unoriginality.


Email This Post Print This Post

2 comments

Post image for The unoriginality of Fringe (Part One)

Similarities between FOX’s Fringe and other science-fiction shows have been going on for some time, mainly The X-Files.
Ever since Fringe premiered, the first show that pops into everyone’s mind is the one about aliens and conspiracies.

A little warning before we start: I’ll be talking about the Second Season premiere of Fringe, so, if you haven’t seen the episode yet, check out in the meantime this cute ad.

Coast clear?
Okay, now that we’re among adults, let’s get real.

I’m not going to talk about the differences and similarities of Fringe vs. The X-Files, given that this has already been done before (kinda).
That said, I recently came across a so-called “article” that lists “10 Reasons Why ‘Fringe’ Is Better Than ‘The X-Files’.“
I should warn you now that if you read this, chances are you’ll have a heart attack in the following ten seconds.

I was so taken aback by this piece of–uhm–journalism (?) that I’ve decided to counter it right here and now.
Let’s get it on.

1. No aliens. OK, there’s an alternative universe, but at least everybody’s human.

So, besides the fact that we don’t know if they are indeed human (just look at their super-powers), you’re saying that Fringe is better than The X-Files because it doesn’t have aliens?
I take it you mean that aliens are bad.
If that’s so, then I’m sorry that Star Trek, Star Wars or Battlestar Galactica, are such horrible, horrible fiction works.

2. The mysteries seem more solvable. Of course, there are unanswered questions at the end of every episode. But they’re not too stupid to beggar belief.

Are we watching the same show? And by “the same show” I mean the FOX TV series produced by Bad Robot, the sole company that actually takes pride in the fact that you’ll never get concrete answers out of their mysteries (see Alias, Lost, Cloverfield, or even Felicity’s mystery box).

3. The characters don’t take themselves too seriously. There’s Agent Olivia Dunham (Anna Torv), who heads up the investigations. Peter Bishop (Dawson Creek’s Joshua Jackson), the wise-cracking slack genius who helps her by taking care of his father, Dr. Walter Bishop (John Noble), who is completely insane. I mean really, Mulder did all that pouting and screaming and what did it get him? Nothing.

First, Mulder doesn’t pout. Second, he not only was right about the Aliens, but he ended up in a relationship with Scully (and a baby). I wouldn’t call that “nothing.“
And I’m pretty sure Olivia Dunham does take things seriously, especially when we’re talking about innocent people dying everywhere.

4. The pseudoscience is at least theoretically possible and doesn’t require great leaps of the imagination. There’s a running storyline in which computer geniuses are trying to download information from a dead man’s brain.

Should I point out that you’re using as an example someone downloading a dead guy’s thoughts?
You’re countering your own argument here lady. This isn’t even remotely “theoretically plausible.” Nothing on Fringe is.
For some believable Science vs. Fiction comments, Popular Mechanics has numerous articles on the subject.

5. Every episode has a beginning, a middle, and an end.

They’ve finally found out how to tell a story, nice!
It’s certainly not like that other show with cliffhangers, random act breaks, and the bad guy never being caught.

6. There are no love affairs—yet.

The “love quadrangle” (John/Olivia/Peter/Rachel) begs to differ.
Oh, and check out that Nina Sharp/Phillip Broyles kiss, it was in the freakin’ season two premiere!

7. Leonard Nimoy is in it. He is the shadowy head of Massive Dynamic, a huge multinational corporation that is a combination of GE, Microsoft, and Blackwater.

Lenoard Nimoy was also in Zombies of the Stratosphere. So what?
Anyway, he wasn’t even in the premiere (by the way, nice dodge from the writers of last season’s cliffhanger). He’ll probably be seen only a few minutes for the whole season, max.

8. There’s a lot more racial diversity in Fringe. Yeah, X-Files had a few black people, but it really was this weird world where people of other hues were mostly used as plot devices.

Can someone tell me why the hell this is an argument for “why Fringe is better than The X-Files”?
I wasn’t aware skin color equated to talent. Robert de Niro has won more Oscars than Marlon Wayans, but Dennis Haysbert is obviously tons of time a better actor than, say, Larry the Cable Guy.
The issue of diversity, though laudable, is irrelevant to the actual quality of a show (or its writing).
Meanwhile, Astrid Farnswrth continues to be the definition of pointless character/plot device.

9. Because Fringe actually knows where its storylines are going, it doesn’t rely on filler episodes to distract you from the fact that you’re being sold a bag of nothing.

That was an ironic statement, right?
(See point number 2)

10. Fringe is worth watching just for Noble. His characterization of Bishop, the mad scientist at the heart of the show, is at turns brilliant, exasperating, hysterical and tragic. It’s the best of The X-Files in one man.

Though I don’t disagree with Bishop being the best character on the show, like the old proverb says, a chain is only as strong as its weakest link.
And Fringe has plenty of them.

All done…
Almost.

Regarding its faux-procedural aspect, Fringe does, in a way, take a hint from The X-Files.
However, for its more mythological storylines, the writers seem to be more inspired by another science-fiction series, Sliders.
As to how, tune in tomorrow.
(Oh yeah, I went the cliffhanger route)


Email This Post Print This Post

Be the first to comment

</