Fringe Observations: 3.07 The Abducted

Welcome to Fringe Observations: the comprehensive clues and eastereggs round-up for episode 3.07 “The Abducted”.

We dive deep into the mythology, symbolism and resonating factors to explore the meaning and unlock the interconnected mystery of Fringe.


A piece of reversed in audio can be found in the ‘previously on’ part where Olivia knocks over the snow globe. The embedded message is the famous Nina quote from “Momentum Deferred”:

“Only one world would remain”

You can compare the normal and reversed audio using the players below:

(warning: audio may be loud depending on your volume settings).



The reversed message is timely given the backwards message suggestion in the previous episode.

The reversed audio has added significance later when Olivia travels once more to the gift shop.

Cause and Reflect

Wyatt Toomy’s prayer speaks of balance and the constant flow of cause and effect:

“Through suffering comes redemption. From sorrow comes exultation. Through the pitch dark comes the cleansing fire. And through the fire we shall find the spring of new life.”

If you notice, it also alludes to these elements being found within one another – “through the pitch dark comes the cleansing fire..and through the fire we shall find..,” rather like the matryoshka doll clue earlier in the season.

The sharpening of the knife up and down the belt also plays into these constant exchanges, or repetition.

The water here represents renewal, rebirth and any other cleansing phrase you want to throw into the sink.

But a question should be asked: can a person be redeemed while hiding harmful intentions? For me, Toomy’s mask symbolizes that while can see the truth through his spirituality, he is unable to apply that truth – he is not free, he’s making the same mistakes over and over again through self-interest.

Same Old Candy

Of course, Toomy’s age regression struggle is a callback to Christopher Penrose, the rapidly ageing clone from “The Same Old Story” (above) who killed innocents so that he could preserve his youth.

There may also be a bit of the ‘Bishop Revivals‘ in there too, though Alfred may have been a time-traveller.

Fringe X

Wyatt Toomy may have been a hat-tip to the genetic mutant serial killer Eugene Victor Tooms from The X-Files. Tooms struck every 30 years to feed on human livers.

Fringe Bumps

“Mommy, there’s a monster in my closet.”

We’ve seen a variety of ‘monsters’ throughout the course of our story. These monsters have ranged from the creepy unknown, vicious animal hybrids, metaphorical beasts, the ill intended – and perhaps most poignantly, the doubles in the alternate universe, who Walternate once described as being, “monsters IN our skin”.

While this relates to the Candy Man – the human monster hiding UNDERneath a mask, it’s worth noting that this fear can be both accurate (as in Max’s case), or misconceived, as in the case of little Ray Jr in “Do Shapeshifters Dream of Electric Sheep?”:

Ray: “Hey Buddy, what are you still doing up?”

Son: “I didn’t sound the monster alarm, but I think he’s here”

Ray: “Where?”

Son: “Under the bed”

Ray: “You know, sometimes, monsters aren’t all that bad. Sometimes, if you get to spend some time with them, they can be very surprising. They can be, um, incredibly sweet, and pure, and capable of great great love. And then, one of them might actually become your very best friend”

Son: “But you’re my best friend”

Ray Jr didn’t know the monster he detected was actually his father.

Shapeshifter Ray knew that ‘his son’ would see him as a monster if he discovered who he really was, but he confessed by giving the young boy a story about how monsters could be “incredibly sweet”.  It’s interesting that without that knowledge of who his father really was, Ray Jr’s limited perception of ‘the monster in the room’ worked the other way – Ray is his best friend.

Which once again brings us closer to where I think this recurring ‘monster’ theme holds the most meaning. If the existence of a ‘monster’ rests on our perception, then taking all that we know about this story, these monsters represent ourselves. Nothing is blue or red, not least the subconscious.

Where Monsters Lurk

Because, imagine a world where one man is both the hero and the villain; someone who needs to forgive and be redeemed for one act. An action which entangles everything.

That’s what it boils down to, one act that set in motion – or played into – a cycle.

Our characters continually project their inner-realm onto the world – and perhaps two worlds, given that the alternate universe thematically (and perhaps actually) represents the subconscious. And what lies below can sometimes shape the world around us.

“Aunt Liv? Monster’s aren’t real are they?”

Take Olivia, for example. Back in 1.16 “Unleashed” she read the Littlest Ella a bed-time story called Burlap Bear. It was about monsters. Later that very episode our heroine was tasked with slaying a hybrid monster DOWN in the sewers of Walter’s guilt. Had she (or Walter) projected this being into reality? Or was this acute foreshadowing an early indication of her abilities at work, providing her with clues – an earlier version of what we call ‘Projection Peter’?

It’s probably a bit of both, bearing in mind the constant need for duality. As I hinted above, the inner mind can be the monster and in the very same instance be the saviour.

That night, Olivia struggled to sleep – so afraid was Dunham that she had to turn the light on. Maybe there are times when our ‘monsters’ keep us AWAKE for a reason? And you know what they say, “sometimes what we wake up, can’t be put back to sleep.”

As an aside: Is it coincidence that we keep getting the little boy/bedroom thematic? As you know, little Peter died in Walter’s arms. He was about to go to sleep – to travel his subconscious mind, but instead, he slept forever. There’s no doubting the incredible power of this theme – whether the creators are conscious of it or not, it keeps coming back because of this weight.

This tragic event is also lodged in Walter’s mind, and given the nature of projections, who’s to say his subconscious isn’t responsible for some of the cyclical attributes in Fringe.

And given all of this, it’s worth keeping an eye on where Peter is when he finally WAKES UP later in this episode. But first..

Over Bear

In case you were in any doubt of the cyclical nature of things, Burlap Bear spirals on into an alternate universe case dealing with monsters. Sure, these are fun clues for the audience to pick up on – that has never changed, but there’s also a meaning behind them.

Win D’oh!

And what can we say about how Candy Man was represented here? Well, the masked misfit hides BEHIND a door. And we know how much symbolism that packs in this story. It was a door that Walter used to kidnap Peter – an impossible door that infected Mother Nature from the inside out.

Candy Man then kidnaps Max by going through a WINDOW. It was a magical window that Walter used to glimpse his future son from beyond the void. Playing the literal role of the ‘monster in the closet’, Walter was both real and unreal. Did little Peter ever detect his watchful gaze?

Internally Yours

But the most meaningful visual for me, was the close-up of Candy Man’s mask. It literally REFLECTED Max – the little boy’s fear projecting right back at him. The monster, which by the way, could have been real or not, manifested itself into his world.

This isn’t to discount the fact that a very evil man decided to kidnap a child, far from it, but for me the underlying messages (and that’s what we’re talking about here) can be boiled down to this idea of the subconscious and the ways in which we perceive both our internal and external worlds.


One of the “6955kHz” clues foreshadowing this episode was the skull and cross bones avatar from the pirate radio station community, which manifested as the skull and cross bones flag in Max’s room.

Skull and cross bones are often associated with pirates and death. It could be argued that the Candy Man was a pirate in that he stole youth from children. The symbol is also said to represent certain secret societies and is no doubt a reference to Reverend Marcus’ shenanigans.


The two most prominent board games in Fringe mythology – Clue and Operation – can be seen planted in Max’s room.

The other two games on display are Battleship (the “pencil and paper game”) and, rather curiously, Quarantine – perhaps a reference to the ‘quarantined zones’ in the alternate universe.

Deep Space 9

Last season I wondered whether the alternate universe has an identical solar system as the one Over Here. The poster in Max’s room seems to imply that the AU has the same number of planets with the same orbit. Look, there’s Saturn, where the Dunhamnator was forged in its rings.

The planet vibe was also a strong visual presence in both Ray Jr. and little Peter’s bedrooms from “Do Shapeshifters..“, “Peter” and “Dream Logic”.

Circle Back

Last time out in “Olivia”, I focused quite a bit on the cyclical nature of Fringe, and found it interesting that Olivia first met Henry at a roundabout. In this episode she once again finds him parked in the same place. It doesn’t mean anything because obviously Olivia is going to try and find him where she originally met him.

And yet, this design of logic in itself plays into the repeating patterns of the universe. We trace memories back. Memories to help us reconnect (in the case of sights, smells, etc) – memories that can be harmful or helpful. Henry is a helpful memory.

It would be really interesting to find out more about his life – we know why he believes in Olivia, but what brought him to this place where he plays such an important, yet unknowing, role? Is it FATE, or does his own spirituality give him the tools to help others?

For Your Projection

..Who knows, but if the world around us projects the internal, then it’s clear that Henry is a bridge. This is his calling.

“I just need you to get me across the water”.

Question is, how will Olivia return the favor? I have to believe that she will return home with ‘new eyes’ and the understanding that it is IMPERIVITVE that two worlds survive, not just one.

In other Henry-related observations, the news report on his radio said:

“Polls show that most Americans opposed the proposed law to limit the number of children to TWO per family. However, leading politicians from two of the three leading parties favor the law.”

This tells us more about the political climate, while reinforcing the two factor.

Also: “Lingg Eye Group” (L.E.G) on top of his taxi. Could this play into the next episode? It may not be much to stand on, but might as well kick it out there.

Observing The Observer

Observers have to eat too, you know. Poor September, he’s like a hungry puppy looking through the window of a warm bakery shop. Nom nom nom.


Heh. In our previous observations I mentioned the subtle photo references, and in the very next episode we see more photos than we’ve probably ever seen on Fringe in one place. Coincidence, of course. But interesting what the mind picks up on ahead of time.

From Childhood

The Candy Man’s method of stealing youth not only played into Olivia’s spinal tap from “Bound” (and the general Cortexiphan premise), but it also reminded me of James Heath who stole energy from other Cortexiphan subjects so that he could stay alive.

I’ve already spoken quite a bit about the Candy Man themes and the symbolism. But briefly, I also wonder whether there’s a bit of ‘man’s battle with mortality’ being suggested here? The idea that humankind is constantly striving to find ways to delay his or her time on this earth to the point where these struggles begin to impinge upon children, depriving them of childhood.

It’s probably not as intentional a message as the others, but it works on some level. I mean, this notion is already one of the pillars of the show with the Cortexiphan trials.


We are introduced to Christopher Broyles as he listens to a radio broadcast of “The Shadow” (originally “Detective Hour”) – the 1930s serialized radio drama:

“..devotes his life to righting wrongs, protecting the innocent, and punishing the guilty. Cranston is known to the UNDERworld as The Shadow; never seen, only heard – his true identity known only to his constant friend and aid..”

The Shadow is a man of many faces, with the ability to ‘cloud the minds of men’. It’s all there and ties in nicely to the underlying, and sometimes murky, themes of this episode and the story in general.

What I find particularly interesting about this reference is that, leaving the subconscious metaphors to one side, it ties into our question of ‘Who Is The Fringe Narrator?‘.

The Shadow was both the narrator and star of the radio drama series. Does this clue us in on the Fringe narrator’s identity? Who is telling this story of ours? Who is altering our perceptions like the cloaked vigilante himself?

Of course, there may be more than one narrator given the number of characters and universes, but wouldn’t it be interesting if at the end of it all one single narrator was revealed?

“Who knows what evil lurks in the hearts of men? The Shadow knows!”

This phrase has an element of duality to it – or if you want, a “monsters in our skin” vibe. Monsters can be full-blown evil, or they can be secrets and lies. They can also be redeemed.

Shadows of Earthlings

Of course, The Shadow is one of the major callbacks, right back to “Earthling”. The Broyles centric episode in which he re-encountered the ghost of his past – the sentient projection from outer space – The Shadow. Tons of parallels and intricate connections there, including the idea of perception.

Glass of the Past

Olivia guides Chris down to the beach of his memories – and to further add reflective quality to the scene, Walternate is framed by glass beakers and tubes (inset). It’s just a surprise that none of them contained red liquid.


Knowing the title of the next episode, I wonder whether the sign: “He That Enters Here Shall Be Saved!” is the foreshadowing clue for 3.08?


Whether one is religious, spiritually inclined or not, I think this is a pretty powerful line within the framework of the story.

“I was nothing. I was lost. And then God came and lifted me UP”.

So much of Fringe is about the subconscious – the below, the underground, the within. We have images of little Peter drowning, and notions of 37 odd pieces of the vacuum buried around the earth, people dreamscaping, and so on. So to counter-balance those thematics with someone being lifted upwards is interesting, and might tell us about where this story resides or where it wants to go.


Olivia goes through the wardrobe and comes out the other side – a clear nod to The Chronicles of Narnia: The Lion, The Witch and The Wardrobe. This plot outline should explain the parallels:

The children are evacuated to the country home of Professor Digory Kirke. One day while they are playing hide and seek, Lucy discovers a wardrobe and enters a wintry fantasy world called Narnia. She spends a few hours in the home of the faun, Mr. Tumnus, who explains that Jadis, the White Witch, cursed Narnia, and it has been winter for one hundred years. In accordance with her orders, if a human is ever encountered, a Narnian must bring them to her. However, Tumnus likes Lucy and can’t bring himself to kidnap her so he sends her home. When she returns, hardly any time has passed in the normal world, and when the other children check the Wardrobe, all they see is a normal wooden back – the portal is gone.

While there are of course broader parallels at work with the ‘two worlds’ story, this reference immediately plays into Broylnate’s decision to let Olivia go home rather than out her to the Witch of Walternate. It also ties into the fact that from Peter’s perspective, Olivia hasn’t even been missing. Olivia may find that hardly any time has passed in the ‘normal world’ in the sense that the people she cares about haven’t missed her at all. Tissue?

Shine On

Not a major observation, but I have to think they were going for some ‘cleansing fire’ symbolism with the light shining through the boarded up window courtesy of a dodged bullet. It’s as though Olivia’s sacrifice had granted her passage home. At least temporarily.

The Masks

Notice how Reverend Marcus’ mask is different from Toomy’s (inset). It’s shinier and doesn’t cover his mouth. Does this imply that he represents a greater fear in that his misrepresented words are capable of influencing many? I’d say so.


This imagery is clearly one that represents a confessional. But it isn’t Chris who is confessing his ‘sins’ here – it’s the Candy Man as he reveals his true face.

And of course..we have our 5000th box imagery. On top of the box – our burning fire that cleanses.

Return to Liberty

“How’d you plan on getting up there?

“I’ll manage”

In order to go home Olivia has to return through the sea of her subconscious. The return to Liberty Island, the place where she began to lose herself, marks a significant stage in Olivia’s journey home. The is the first time she has been back there fully as herself.

This is not just about going home – the yellow brick road is that way, Dorothy. No, this is about reclaiming her liberty. Sometimes you have to go backwards to go forward.

No Bra. No Panties. What?

When Olivia first entered the warm waters of the AU Bra & Panties Tank™, she was dressed in all white. Her return to those tantalizing waters see her dressed in black. For me, both colors represent wholeness. Together they allude to the balance of the universe, just as here we see a more balanced Olivia (right) than she was prior to “Amber 31422”. Olivia has not shed her experiences – she’s combining them.

Though her experience has been painful, brutal even, it may have been necessary for her to gain the wisdom, skills and duality to progress in her ultimate mission.

Protect Her

Earlier I mentioned the reversed audio over the snow globe intro. This buried clue abided by the internal logic of the story, as this time round, Olivia doesn’t break a snow globe – the reverse happens.

Not only does that mean less glass for Gift Shop Lady (or GSL as we endearingly call her) to clean up, and not only does it signify that Olivia is learning how to travel without going all ‘Nellie The Elephant’ on innocent glassware – but it implies that perhaps neither universe has to end after all.

Maybe there is another way?


Want more evidence of the cyclical nature of things? There’s a picture of the Coney Island CYCLONE roller coaster ride in the gift shop – which seems even more relevant given that one of Olivia’s happiest recent memories is taking little Ella roller coastin’ back in “August”.

Not to mention that, prior to her first dip in the AU B&P Tank™, Olivia as Altlivia said:

“Just like riding the roller coaster at Coney Island, right?”

Talk about projecting.

Add to that the fact that Olivia’s identity is back in a large part to her subconscious memory of Ella’s birthday, and the world around the Dunhamnator becomes ever more a melting pot of internal and external hopes and desires. Throw in the ‘world slipping away’ imagery as Olivia shuttles back to the other side, and you have an interesting cocktail of messages.

In fact I could go on and talk about the locked door and the frustration of ‘childhood yellow’ – it’s all there. Truth is, before Liv can get back, it seems she has to go back round for another dose of Walternate.


Like a hearty sneeze, the blue lights snap us back to the other side as “Dogs” becomes “Cats” and the smell of real coffee fills the air.

Bogie Nights

Altlivia thinks (or guesses, wrongly) that Ronald Reagan starred in Casablanca. Maybe in the alternate universe he did? Peter scoffs, “No fool, it’s Humphrey Bogart!” Making this the second Bogart reference in recent episodes.

Altlivia’s fantasy ending sees them “running away together and they live happily ever-after”. While Peter delivers a dose of truth and realism to the party, “actually no, she leaves him at the airport and they never see each other again.”

While this may simply tell us that the AU version of Casablanca is somewhat different to the Over Here version, it may also convey what Altlivia and Peter are individually projecting.

And like an ironic reaper, the grim, cold reality of truth was about to land on Peter’s door.

Before You Go Go

And it’s this ‘wake up call’ that is so interesting. Sure, it leaves Peter with visible egg on his face – and we all had a good laugh, I’m sure. But as I mentioned earlier, there’s a recurring theme that could almost be spawned from Walter’s tragic memory of Peter dying in his bed. This moment delivers that meaning, because now, instead of falling into eternal sleep (“Peter”) or resting his eyes (“Northwest Passage”), we see Boy Wonder wake up.

Other Clues

  • Olivia wears a pale shade of BLUE for much of this episode, projecting her inner drive home to the blue universe.
  • Visual comparison of Toomy’s doll and the one from “Jacksonville” (inset). Clearly different dolls, but both terrifying in their own way.
  • “Get The Bugs Out” poster – a reference to Charlie/Charlnate and their bugs/worms issues?
  • Quick Update: Shapeshifter Joseph’s eyes from the previous episode may have foreshadowed Christopher Broyles’ sight impairment.
  • The glyphs for this episode spelled: “ESCAPE“. As in run like the wind. As in become the wind.

For further exploration into this episode, you may also want to read our “The Abduction” review, which accompanies the above. All of our Fringe Observations can be found here.


  1. Charlotte says

    Roco, I have to say that reading your blog makes my sick leave with a broken leg much more enjoyable!

    I have something to add to your ‘Same old candy’ section above about characters who don’t age quite normally. You write: ‘Toomy’s age regression struggle is a callback to Christopher Penrose, the rapidly ageing clone from “The Same Old Story” (…) There may also be a bit of the “Bishop Revivals” in there too, though Alfred may have been a time-traveller.’

    I’d throw in John Mosley from “The Arrival” for good measure because John Mosley seemed to know Robert Bishop (which puts a big question mark on his actual age). I also take his name to be a clue as Oswald Mosley was the founder of the British Union of Fascists in the 1930s – plus the fact that the militia of the British Union of Fascists was called the Black Shirts, and that John Mosley wears a black shirt throughout the episode.

    Talking of which, I suspect that there might be more references to Nazi Germany that we missed throughout the series. The scene where Wyatt sharpens the razor blade on the belt somehow reminded me of its very famous counterpart in Charlie Chaplin’s “The Great Dictator”, but then maybe that’s just me.

    Thanks again!

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    • LizW65 says

      “…Oswald Mosley was the founder of the British Union of Fascists in the 1930s – plus the fact that the militia of the British Union of Fascists was called the Black Shirts…”

      He was also memorably parodied by PG Wodehouse as Roderick Spode, the fascist who wore black football shorts because there were no shirts left. (Sorry, straying a little O/T there.) 😀

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    • says

      No probs, Charlotte. Glad I could help!

      Interesting shout re: John Mosley. I always considered him to be something of a ‘rogue Observer’ of sorts (although he seemed to display far more emotion than September and the gang). I like your suggestion, though. It will be interesting to see if we ever find out anything more about him.

      Cheers for the share!

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  2. Lívia Costa says

    Roco, I love the way that you see the things that I couldn’t imagine are just in front of my eyes!!!! That’s way I was anxiously waiting for your observations!

    Just a question: When Ray is talking about monsters with Ray Jr, he said that “They can be, um, incredibly sweet”… like a Candy Man, don’t you think?

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  3. matt says

    sometimes you nit pick a lot… that episode was beyond the greatness of greatness… murky story… hmm…

    either way: I liked how there was the little double shout out to brown betty when (on top of the candy man) walternate was framed by beakers and the one on the table close to the bottom of the frame looks like a scientific/borosilicate glass bong! HOORAY!

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  4. Lalla says

    This is probably nothing… but I remember clearly that during season 1 (and I think it was season 1 because the location was the FBI office) there was a pirate flag on one of the PC screens. I remember it because it was quite weird… sorry I can’t remember the episode…

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  5. mlj102 says

    I loved the Quarantine Zone game. “Can you escape before it’s too late?” Brilliant addition to that scene!

    “The Candy Man’s method of stealing youth not only played into Olivia’s spinal tap from “Bound” (and the general Cortexiphan premise), but it also reminded me of James Heath who stole energy from other Cortexiphan subjects so that he could stay alive.”

    Another connection I made that you didn’t mention here is how closely the concept of the Candy Man parallels Peter’s description of Walter (The Candyman) in Brown Betty: “He steals children’s dreams and he replaces them with nightmares. That’s what this is, a Pattern of Destruction. Of damaged kids, shattered innocence.” While the similarity isn’t so much in the concept of what he’s trying to accomplish by stealing youth and healing his own infirmities of old age, there is a similarity surrounding the actual consequence of his actions on the lives of his young victims. As Broyles said, these children lost their childhood and became haunted, consumed by nightmares. And that’s exactly how Peter described Walter in the story. I’m not as good at expounding upon those kinds of parallels as you are, but I still thought I’d throw it out there.


    I noticed that Gift Shop Lady was wearing a cross necklace. I found this to be a neat continuation of the religious imagery found throughout this episode, as well as a subtle insight into her character, and perhaps partially explaining why she was willing to believe Olivia and pass her message on to Peter.

    Another neat little Easter Egg I picked up on was that, amidst all the blue tones and objects and clothing that abounded in this episode, Henry instructed Olivia to meet him at the Red Hook Marina. I just think it’s interesting that the color red was literally found in the name of one of the last places Olivia was supposed to visit on the other side. And the hook, though likely just a convenient coincidence, could be a subtle foreshadowing of the fact that Olivia wasn’t going to be able to make her complete escape yet. Her brief journey back over here was brought to an end as she was pulled back to the other side, and in my mind, it was as if a hook had only barely managed to snag her and keep hold of her and pull her back before she was able to completely escape.

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  6. Mireya says

    Thanks for your observations. Because of this site, I realized that when I watched the show the first time around, I missed a lot. 😉 Now when I watch it, I’m always looking out for clues. I did notice in that last scene with Peter and Alt-Livia that she was covered up to her chin in a red comforter and with Peter, you could only see the blue shirt he was wearing. Maybe it’s foreshadowing what will happen with Peter and Alt-Livia in the next episode, blue and red clashing.

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    • LizW65 says

      Well, Olivia has had the red paisley comforter throughout the series, so I don’t know if it’s really intended to symbolize the other side. I kind of took it to be her subconscious longing for bright primary colors coming out in her furnishings, even though she wears mostly black and grey with the occasional bit of light blue.

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  7. Inter-dimensional Dave says

    Brother Roco you keep setting the bar higher with your “Fringe Observations” great work.

    I too thought of Tooms from the X-Files when the Toomy character was introduced. Both figures go through a transfigurative phase to insure their survival. Moreover, with the religious subtextual themes of the episodes it reminded me that Scully had her Cross removed from around her neck as she crawled through Tooms’ nest. In this Fringe episode religion is a facade to rob children of their vitality.

    I liked how you brought into focus the theme of children in the Fringe Bumps and Monsters Lurk sections. The kids always seem to be in bed. A place where they are both safe and vulnerable. It’s also a place of rest or illness, dreams and nightmares and to spend time with a parent or all alone.

    You spoke of man’s battle with mortality. I’ve been trying to tie that in with the ZFT manifesto and the Periods of Light and Darkness as outlined in the “First People” calendar. I think the headlong pursuit of technology (in this case to prolong mortality) will eventually lead to what is forseen in the ZFT and doom mankind not prolong it. It may usher in a peroid of darkness for man but a period of light for the First People and their return.

    The Monsters in our Skin is similar to the Monsters of the Id a familiar theme borrowed from the movie Forbidden Planet. (BTW, Rest in Peace Leslie Nielsen.)

    Lastly, I don’t know why it took me so long to remember this but your discussion of doors and dimensions jogged my memory. There is a famous Twilight Zone episode called, “Little Girl Lost”. Its about a little girl who falls into another dimension under her bed (naturally) she nearly becomes trapped there for eternity as the portal to return home is only finite. I bet that episode in some way has served as a inspiration for what Olivia is going through.

    Here’s a link to to Wikipedia if you want to check it out.

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  8. niRty says

    Great article, like always!
    I’ve been thinking about Ray’s ability to sense “monsters”, can he be somehow (if he’s actually a shapeshifter Hybrid, I’m not sure, I didn’t do the math, sorry) different genetically and can see through the veil of universes/disguises?
    Maybe I’m just tripping here…

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  9. says

    As an aside: Is it coincidence that we keep getting the little boy/bedroom thematic?

    Not just the “little/boy bedroom”, but also the “father/older man as a villain” theme.

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  10. runpaceyrun says

    Roco, as usual very insightful and thought provoking observations.
    I have watched this episode at least 6 times now and there was just something about the boy, Max. Max just seemed familiar to me in some way…..then after i read your article it finally dawned on me. Max, is the the boys name in Maurice Sendaks book “Where the Wild Things Are”…..and he had monsters in his bedroom. Admittedly they were dreamt ones, but still i thought i would find the book and have a look. Do you know that Max goes over the blue water in his red boat…that has yellow sails!!!!! This all may be a coincidence…but knowing the writers and producers of Fringe….its probably not. Now this is the book im talking about …..NOT the movie!
    Of course the book was easy to find as i am a teacher of young children and this book is part of my collection. This has really got me thinking now!
    Cant wait for the next episode…..i so want Olivia back where she belongs. I have missed her immensely.

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    • runpaceyrun says

      Forgot to mention the other thing that kept bugging me. I loved how Christopher Broyles was listening to “The Shadow”……and then i heard the familiar phrase…”Who knows what evil lurks in the hearts of men? The Shadow knows!”
      This just reminded me so much of the Observers….probably too much of an obvious link BUT……they are supposed to know what events are going to happen…..they DO know what lurks in the hearts of men….they have seen it! And they are really shadows…they are not meant to be seen. (i know they have been but they are not meant to be seen)

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  11. Cerulean says

    I totally believe the narrator is Gene! Gene, in enduring Walter’s many experiments, has become a supercow and is narrating the Fringe journey. Remember how Gene reacted when Peter ate that cheeseburger in front of her?!? She was like, “oh no you didn’t!”

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  12. Pierce says

    Butterflies on Toomy’s dresser.

    I almost expected to see them flutter like the ones that were hanging in Mark Young’s home during ‘Dreamscape’. In a lot of ways, this show interprets itself with these seemingly innocuous prop placements.

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  13. fedorafadares says

    These are awesome observations!

    To add on a bit: The Cyclone is also a happy memory for Alt-Livia, since she and Charlie rode it together. It was, unfortunately, not a happy memory for Charlie!

    Also, it’s interesting to note that “Casablanca” brought us the song “As TIME Goes By,” which has lyrics very relevant to the plot.

    Here’s a link to lyrics, for those curious:

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  14. LizW65 says

    “…Making this the second Bogart reference in recent episodes…”

    Hey, Roco, we got another Casablanca reference in season 2 “Grey Matters” –one of the mental patients thought he was Sidney Greenstreet and went around quoting the film.

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  15. William Bishop says

    Great observations Roco! The one that most intrigued me was the “Peter waking” it reminded me about the episode 2.16 The Man From The Other Side and that after the “explosion” before Peter be knocked out he “woke up” and saw the truth, this plus the references in ‘”Peter” and “Northwest Passage”, plus the idea of cycles in the show, couldn’t we speculate that Peter is passing through cycles of “sleeping” and “(re) awakening” and by the end of each cycle he gets more “wise”?

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  16. Count Screwloose says

    “…but it implies that perhaps neither universe has to end after all. Maybe there is another way?”

    Oh, there is! But nobody’s going to like it much!

    The prayer also reminded me of the mysterious and oft-repeated poem from Twin Peaks:

    “Through the darkness of future past,
    The magician longs to see
    Once chants out between two worlds:
    Fire, walk with me.”

    It strikes me as a fairly intentional homage. “Two worlds” indeed.

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    • Ann_Louise says

      “Once chants out between two worlds:
      Fire, walk with me.”

      I remember it as “One chance out between two worlds”….didn’t the Little Man from Another Place (tLMfAP) say that in the Red Room, which was either between our world and another, or was a kind of “way station”?

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      • Count Screwloose says

        The “once” should be “one,” my mistake, but I think the “chance/chants” debate (both sound good to me!) has been settled in favor of “chants” thanks to closed captioning and David Lynch. As for who recited it, I’d have to dig out the DVD box! I seem to remember BOB and the One-Armed Man each having a go at it, I think. And Agent Cooper recites it at one point, doesn’t he?

        Don’t miss this Wednesday’s episode of “Psych,” by the way, when a bunch of original Peaks actors visit to celebrate the show’s 20th anniversary!

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  17. Nick says

    Just to throw out there, but Lingg Eye Group is a reference to one of the crew members. I saw her name in either the opening or closing credits.

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  18. cvita says

    Something about Max Clayton was bugging last few days and than it finally came to my mind.
    Adam Clayton is U2’s bass player. Just a coincidence or something more?

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  19. ApplesBananasRhinoceros says

    I can’t help but think the pirate flags can also relate to Peter Pan and the lost boys…

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  20. Count Screwloose says

    I don’t think anyone’s mentioned the sadistic little game the glyphs played in this episode: as it became increasingly obvious that the word was ESCAPE, it seemed likely that Olivia would be going home by the end of the hour…until they pulled the universe out from under us. Well played, mysterious bi-dimensional glyphs. Well played.

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  21. alt-lex says

    There is another black and white reference which reminded me somehow on the “calendar” from Episode 6. It was when Olivia went to Max in the medical center. The cables right beside Max head were black and white and a red one in the middle. Maybe a clue that the first men came from the red Universe?

    And do you read the name of the restaurant where Olivia and Henry go to breakfast: Homestyle Cooking

    The picture at the book “burlap bear” remembers me of David Robert Jones at the Raiden Lake in the first Season with the bandages around his head.

    PS. I want to thank you Roco for your great work with this blog. :)

    greetings from germany =)

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  22. Anne from France says

    Thanks again Roco for that :)

    But you didn’t mention the scene of Casablanca that is actually on TV. Yet I think the choice of this particular scene is obvious:
    “Who are you really and what were you before? What did you do and what did you think? / We said no question.”
    Exactly what Peter should ask Altliv, no? 😉
    And above all, a great premonition of what’s to come between Altliv and Peter at the beginning of Entrada! These writers are genius!!

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  23. Peanut says

    Maxwell being afraid of the monster under the bed reminded me of Walter’s scaring the schoolchildren with the story of Magellan’s ill-fated voyage at the science museum in “What Lies Below,” 2.12. Walter said that if you didn’t look under the bed, you wouldn’t find the monster.

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