Welcome to our review for episode 7 of Fringe season 3 – “The Abducted”.
In this review we give an honest opinion on the good and not so good aspects of the episode. We identify the answers that were provided and the mysteries that remain locked away. We take an in-depth look at the other aspects of the episode that made an impression on us, before rounding off the review with our final thoughts and episode rating.
- The Opening Scenes with the Candy Man and Max were great. Perhaps I’m just relieved that it didn’t look as awful as it did in the promo, but there was an intensity there that set the episode up nicely.
- Many callbacks. Fringe has always self-referenced. For me, this speaks to the cyclical nature and ‘awareness’ of the story. As in life, we look for meaning in the world around us – things to make everything make sense. Referencing back to episodes such as “Earthling” and “Unleashed” (and others) in clever and meaningful ways creates connections in the mind. It informs us that the story-makers are in-tune with their own content and that our powers of observation are useful in interpreting the story.
- Touching Moments. There were some really nice scenes in this episode. I enjoyed the relationships that Olivia forged with Broylnate and Chris, and it was great to see Super Henry return to assist Olivia in her adventure.
- You Have a Message. The stand-out moment has to be the final scene with Peter receiving Olivia’s message. How I’d love to be a fly on the wall as the screen went black! It left the episode on a knife-edge and has me wondering what Peter first move will be. Will Boy Wonder roll over and go back to sleep, or will he FINALLY put the pieces together!? 😮
- The (continued) Humanizing of Walternate. Although he was also a bit of a monster in this episode, I can accept that decision because at least he’s becoming less one-dimensional, thus making him more believable.
- Progression. The episode got us where we need to be and moved the necessary pieces into place for a potentially exciting mid-season.
- Structure. I had a few problems with the way the episode was put together. At times it just didn’t mesh very well and felt disjointed to the point where it prevented certain scenes from being as satisfying as they could have been.
- A and B Story. I found it a bit weird that Olivia was so absorbed in solving the Candy Man case considering the magnitude of her need to get home. I appreciate the thematics on display and the number of parallels, but I felt that there could have bit a bit more emotional interaction between the two. This might come back to the story structure and the fact that Olivia had to maintain her cover, but I feel that the previous Over There episodes have been more effective in this regard. I would have liked to have seen more continued awareness on Olivia’s part. Instead the stories felt a bit too separate.
- Unsatisfying in places. Particularly the ‘twist’ with the reverend being ‘Candy Man Prime’, which felt rather clumsy. The way that Olivia came to the realization was unsatisfying to me, because unlike many of the clues that the universe usually delivers to her, this one felt way too random. Henry’s throwaway reference lacked the necessary ‘closeness’ to Candy Man Prime showing Wyatt how to regress-age. Sure, Wyatt may not have fit the experience profile, but did it need Henry’s comment to connect those dots? It just didn’t work, and having Olivia go back and forth like this reduced the magnitude of her epic NEED to go home. In this instance, I’d say that the ‘mythalone’ structure hindered the A story for the first time this season.
- Under-drawn Villains. It seems to me that the Candy Men were plucked from the same character box as The Artist. Perhaps they were under-developed intentionally, to give air to Olivia’s story. But this didn’t help give that story the embellishment it needed to fully click. Fair enough, they were one-dimensional bad guys, I guess we’ll get some of those from time to time, but having two of them in the same episode didn’t work for me as well as it could have.
- Mega Contrivances. Perhaps the most glaring was that Walternate’s stormtroopers realized that ‘someone’ had accessed the Lab, yet they didn’t actually do anything about it until Walternate got back to the Island (he was already on his way home). It could be argued that they couldn’t do anything sooner because Olivia had traveled for a minute or two to the other side. But what about the couple of minutes it took Olivia to adrena-nate and hop into the Bra & Panties Tank™? And why no remote shut down of the Lab equipment? I’m beginning to wonder how this man has the position of Secretary of Defence, given his lax security.
- What will Peter do?
- Altlivia joined fringe Division less than two years ago.
- Red Vines are new in the alternate universe. (Those poor people, they haven’t lived!)
- Broylnate is a man of faith.
- Wyatt Toomy created age regression serum by extracting hormones from kids’ spines.
- Using his knowledge of science, the reverend discovered how to ‘heal’ his congregation by stealing youth from children.
- In the alternate universe, the FBI hasn’t existed for over 10 years.
- Ronald Reagan starred in Casablanca instead of Humphrey Bogart.
- I find it interesting when Fringe touches on spirituality, in part because it provides nice balance to the science element of the story. As I would expect, the further we delve, the more intertwined the two are. This episode wasted no time in reflecting on the nature of spirituality and faith and what they may mean in the big picture of the show:
“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.”
- I like that. Our story has many damaged characters who are undergoing great suffering either through actions of their own, or others. For instance, I often speak about Walter’s need for redemption and how it disappoints me when he wastes his opportunities to take forward steps. The opening lines of the episode suggest that our heroes are indeed on these journeys of healing. As painful as it can be, this is an opportunity for them to renew themselves – to come full circle, or better yet, to break free from it.
- Poor little Maxwell. We’ve all been there, haven’t we? The monster under the bed terrified the Cortexiphan out of me when I was a little Roco-tot. Back then, my defence mechanism was to sleep with the light on. Thankfully, Max doesn’t have to adopt such crude methods. Super Mom tells him to count to three and the monsters will be gone. …Yeah, and how’d that work out, Mom? Bang goes any trust Max will have in her growing up! 😛
- The abduction was creepy though. One of the things the Candy Man seems to represents is fear itself. An example of the things people project onto the world around them due to their childhood experiences or perceptions. Had Max ever seen a monster in his room before? Unless he spent some time down on Molebaby Farm, I doubt it. Yet he was terrified that one existed. That’s somewhat interesting because this season has focused quite a bit on pushing past fear and taking risks (for example, Walter ‘crossing the line’). How important is that fear in monitoring our decisions?
- It’s interesting that counting to three only brought his fears closer to home. On some level this plays into the idea of belief, which takes on a central role in the episode.
- HENRY! You may still be wearing the same shirt we last saw you in, but what the heck, give us a hug why dontcha! I love the fact that Olivia found him in the same spot where they originally met. She offers the buy him breakfast. Obviously he takes that offer up. What do you mean it’s 4pm?
- Olivia doesn’t waste any time in seeking out a favor. I thought she could have at least had a muffin or two before revealing the true intent of her breakfast invitation. But if I had Projection Peter inside of me, I might want to be all PRONTO myself!
“I just need you to get me across the water.”
- Henry has very much been her bridge over troubled waters, hasn’t he? And how fitting that our man of faith should return in this episode. Of course, ‘water’ here doesn’t just represent the stuff you drink, to my mind it also speaks of Olivia’s subconscious. A subconscious that is still heavily “patrolled”. Olivia may have realized who she really is, but it’s another thing to make it back to the other side.
- It’s worth noticing that at this stage Olivia doesn’t feel comfortable telling Henry where she is from. Does she still have lingering doubts herself, or is she worried that he might lose faith in her if she told him? It’s understandable, sometimes what holds us back is not the belief we have in ourselves, but the faith (or lack of it) that others have in us. Sometimes we shy away from testing that faith.
“I need your help, Henry. Please will you help me?”
- Maybe I’m getting soft, but I find that really endearing. I don’t think I’ve said “please” before “help me” since I was like, in the womb. Poor Livvy!
- I’m intrigued by Henry’s motivation here. Again we can trace it back to their connection – that common ground which they experienced in In “Olivia“. Henry knows what it’s like to not have people believe in him. And he knows the value of having just one person take a chance on him. It emphasizes that understanding and compassion can come from perspective – from sharing similar experiences, or through having the capacity to understand our fellow humans from another angle.
- And I love how not a single mouthful of breakfast was had in this here breakfast scene (aside from one sip of tea). Maybe I have problems, but if someone invites me to breakfast, I expect to have bacon sandwiches (of the kind Peter’s mother would be proud), muffins, coffee and pancakes! Bless Henry, I guess he had to dine alone. And I don’t think Olivia paid. Oops.
- VERY interesting detail. Kidnappings are considered ‘Fringe cases’ in the AU purely because of Walternate’s personal experience with having his son abducted. Has there been a more intriguing insight into Walternate’s character this season? It further tells us that he’s personalized EVERYTHING, and that he’s hell-bent on not letting history repeat itself. Which is a good thing, you could say. But it’s also slightly worrying to me as a citizen in the alternate universe, because it suggests that he might be overly leading with his heart instead of his head.
- In the context of the situation this tells us a lot about Walternate’s mindset. It’s all about him. Which it is, but other people are involved too – about 16 billion of them. We want leaders to lead, but at what cost? At the price of allocating government resources to areas that don’t require that level of focus? (only 1% of kidnappings are Fringe cases according to Charlnate). I’m worried about Walternate. So calm and contained yet he is visibly broken. Walter didn’t just shatter the fabric of his universe – as always, that is just a metaphor to describe the underlying message.
- Olivia believes that, “it’s not a waste”. She’s seen the situation from both sides and the devastation that kidnappings can cause to families and entire worlds. In a way, she’s right, and Walternate is no different from anyone else in that he’s protective of the things he holds dear. He’s shaped by his experiences. In a story that reveals repeating patterns on a regular basis, why shouldn’t Walternate go to great lengths to ensure that lightening doesn’t strike twice? And that’s the logic, flawed or otherwise.
- Speaking of repeating events, how much do the events in this episode mirror those from the body of the show? Very much. I’ll probably touch on that more in the Observations, but it continues to show how the past experiences of our characters reflect on the world around them. In recent weeks I’ve spoken about the two universes travelling in similar inward circles, and since the alternate universe scenario can be viewed as a metaphor, I find that to be useful in examining what this story actually means on a deeper level.
- Here are words I never thought I’d hear again:
“It’s the Candy Man”
- Yes, it seems the writers really weren’t kidding with that episode. All the clues the Fringe are in there, folks. We already know how the story will end. How? Why, with TWO endings, of course! (Actually, I wouldn’t put that past them).
- And of course, the Candy Man also reminds me of the terrible “The Artist” – a man who didn’t deserve the prefix “The”, or the word “Artist”. Thankfully, the Candy Man wasn’t quite as badly drawn as that guy, although I do have issues with his character.
- An interesting Walternate/Broylnate moment:
“Fringe Division was created to investigate tragedies of an unimaginable scale. You and I both know that there is no crime more heinous than the theft of a child.”
- An key moment because in an instant it explained the strong sense of friendship and admiration that I had detected between Walternate and Broylnate in previous episodes. Both of these men have experienced the theft of a child, they both share that common ground. But dig a little deeper and it’s noticeable that both men deal with this experience differently. Both relatively closed off, but they seem to internalize it in different ways. Broylnate is committed at most costs. Walternate is hell-bent at any cost.
- I have to note Walternate’s possible manipulation here:
“There’s no shame in letting it fall to another desk if it’s too….personal.”
- Notice that infernal eye-twitch as he says it. Broylnate pours his juice into Walternate’s cup:
“It’s been four years since the Candy Man took my son. Four years since I heard him laugh. Watched him play outside with his sister. He had my son for two days, when I got him back he weren’t a little boy anymore. If there’s anyone you want on this case, it’s me.”
- So what change does he undergo to take him from this to where he ends up at the end of the episode, helping Olivia? We’ll come to that, but Walternate has just made Broynate think that it’s his case – just as he made Olivia believe that she was Altlivia. A useful tidbit on his character. He may not be a lover of war, but he is an expert at hearts and minds.
“You’ll be happy to know we made a breakthrough. We found something in her brain chemistry. Something unique. If it’s what enables her to cross between worlds, you’ll have your team back soon.”
- Can we hold ya to that, Walty? Something about the way he said it made me think that he doesn’t expect to get Alt-O back at all. Or that he thinks there’s a good chance they wont.
“I know what it’s like to lose a son, and even when they come back the damage is irreparable”
- This is interesting because it tells us that Walternate possibly feels disappointed or let down by Peter’s decision to return back to the other side with the man who stole him. Perhaps a better word would be hurt. But it’s more than that, “irreparable” speaks volumes and implies that on some level he has given up hope of ever having a fully realized relationship with Peter.
- So what does this mean for Walternate’s motivation? While I do not doubt for a second that Walternate loves Peter and wouldn’t do anything to harm him, there is a very fine line between love and hate. Will it make his decisions over the Vacuum that bit easier? The fact that Walternate sees Peter (and by Peter I mean the boy and their relationship) as ‘beyond repair’, is one of the most intriguing comments he’s made.
- Walter not only stole his son, he turned him into ‘damaged goods’. Of course, this is murky territory, but from Walternate’s perspective, Walter has turned Boy Wonder against him. I feel desperately sorry for Walternate. I sense that he may have needed that offer of a chat more than Broylnate. Walternate’s first plea for help?
- Olivia is very forthright in her persistence to interview Christopher Broyles. A trait perhaps lacking in Altlivia on the other side, particularly when dealing with Walter – buying him cakes, while Olivia once ripped him to shreds in a cake shop. Oh yeah, I noticed. That’s not to say that I don’t think Altlivia is proactive in her own way. In her own surroundings I think she’s very ballsy, but she approaches it from a different direction. Two sides of the same coin.
- I admired Broyles for being protective over his son. What father wouldn’t? But it plays into the commonly held idea that people can sometimes be too close to see the truth. Broylnate was unable – or unwilling – to see that Chris was actually more capable than he gave him credit for. We’ve seen similar ideas explored between Walter and Peter in the past, so it was useful to see it play out here.
- I also found Olivia’s tug-of-war in trying to get Broylnate to see a bigger picture somewhat similar to Broyles trying to persuade her to join his team in the way-back episode we call the Pilot. It’s not exactly the same thing, but the dynamic played similarly for me.
“..going over the details again, and again, forcing him to relive it when all he wanted to do was forget. And for what? I didn’t solve the case. And I didn’t help my little boy sleep at night.”
- Wow. Quite a few things going on there. We’re reminded of the significance of ‘forgetting’. Memory is a major theme of the show and we’re constantly being reminded ourselves of dynamic between forgetting and remembering – or in other words, the state of being asleep and awake. Once again this is Fringe layering its story with a butter knife.
- His words also take us back to “Earthling“, and the way that Broyles was so hung up about solving the case that wrecked his marriage and lost him his family. Broylnate is not so unfortunate but the thread is there. Like all of our Parallels, they are joined by similar strands – scenarios caused by the intrinsic vibrations that echo throughout both worlds.
- Lance Reddick gives this version of Broyles a fleeting moment of emotion that I can’t readily recall seeing in Broyles Over Here. What does this mean, what is being implied here? Could just be the actor doing what the hell ever feels right, but even so, his interpretation is worth thinking about since he is the one playing these two characters.
- Maybe the fact that Broylnate still has so much to hold on to makes him slightly ‘weaker’, more vulnerable, than the Over Here Broyles? That would make sense to me.
- And you’ve gotta love how Olivia reflects that emotion right back at him as if he were looking in the mirror. Olivia is emphasizing with this Broylnate. Perhaps because of her relationship with her Broyles, or maybe because she connects with Broylnate’s pain. Again, common ground.
Olivia: “I’m sure that you did your best. But if I spoke to him, maybe I could get more out of him”
Broylnate: “I’m his father”
Olivia: “Perhaps that’s the problem?”
- This drew a fantastic response from Broylnate – he intended to protect what little childhood his son has left. I liked that because it made sense – a simple, primal objective of any father is to protect their young. It also contrasts with Olivia’s situation – she had no childhood. Or if she did, she can barely remember it as being a happy one. Who was there to protect Livvy’s childhood? Where Mother Dunham when Olive needed her? Does this explain why Olivia is not so hung up on fostering a meaningful relationship with Altlivia’s mother?
- Though she had good intentions, I did think Olivia was also a bit cruel in this scene – and she can be at times. The timing of this is pretty ironic, given recent conversations. 😉
- Anyway, I think a key point from this scene is that whether she realized it or not, Olivia tried to get Broylnate to see the bigger picture of sacrifice and the way in which it can set one free. This idea is cranked up in the very next scene where we get the despicable Candy Man repeating his prayer to Maxwell:
“Through suffering comes redemption, through sorrow comes exaltation. Through the pitch dark comes the cleansing fire. And through the fire we can find the spring of new life.”
- Something so beautiful mangled by a very evil man. His mantra is meaningless to the boy, and only serves his own delusions, in my opinion. What was so special about him that he could just pluck away the boy’s youth like pears from a tree? What redemption was the boy receiving out of this? I get the idea of sacrifice, but I don’t prescribe to his garbled outlook. While I have my problems with under-drawn characters, I think it’s safe to say that Candy Man is one we can all sharpen our boots for.
- I also find the arrival of the Candy Man quite timely, given that a couple of episodes ago I said of Walternate: “Oh the masks people wear.” Because, of course, Candy Man is also a metaphor for Walter.
- I often talk about the story events representing the problems that the characters are trying to solve through constructed means. Though this comment from Broylnate is no doubt unintentional, it does kinda describe the value of self-healing adventures:
“Do you think he’ll try to come back here?”
“No, this is just for my peace of mind”
- Maybe I’m a hopeless romantic 😉 ..but I found it really touching that Diane asked if Broylnate had eaten yet. The way she did it, tenderly touching his stomach – and then fetching him a beer. I just think it’s really neat to see small, but meaningful compassion in a show like this. It told us a lot about their relationship and reminds us that Broyles doesn’t have this in his life. (although he does have Nina to perk him up).
Diane: “I always liked Olivia. She seems very smart.”
- Bearing in mind she’s talking about Altlivia, and we have another string to add to the ball.
Diane: “He’s a strong boy, Phillip. Strong enough to talk about it, even if you’re not.”
- A character flaw, perhaps? I find this worth mentioning, because in the previous episode we had Walter projecting his fears and insecurities on to Peter and therefore inhibiting Boy Wonder’s own growth. Here we see that again, this time with the idea that Broylnate’s own ‘weakness’ (and I say that respectfully) placing a cap on his son’s development. In an episode largely about childhood and the lasting affects, this is a powerful message.
- How far do we protect our children? How much of our own anxieties do we unintentionally project onto them? How much does this take away from their futures? I imagine it’s a tricky one – on the one hand there’s the danger of not doing enough, coupled with the danger of over-doing it. As always with this story, it plays by the internal logic of balance.
- It was wonderful to meet Chris. He was exactly the OPPOSITE of how his father described him. So full of life, so youthful and optimistic. I’m sure that this was intentional on the part of the writing, and it did good on illustrating the things I mentioned above.
- The Candy Man wasn’t the only ‘two person act’ in this episode, nor are the themes only alluding to the two universes. We’re also dealing with PERCEPTION, particularly emphasized with Chris being two different people. The broken child that Broylnate saw him as, and the beam of energy that Olivia (and the audience, I’m sure) perceived. Do we always see other people accurately? How do we know, unless we’re able to be completely objective.
- I also thought it was an interesting detail to make Chris blind as a result of the Candy Man’s theft. Yes, it tells us something about what was taken from Chris, and the different way that he sees the world. But we should also remember that eyes are THE WINDOWS to the soul. Therefore, it further informs us on Broylnate’s inability to see into the internal infrastructure of his son. Broylnate saw him as being more fragile than he actually was, his perception obscured by his own fears and disappointments.
- I love it. Chris asks Olivia whether she really saved a bunch of kids from a Class III Vortex. Olivia says that she was just doing her job. Given that Chris is referring to a different Olivia, it’s worth considering the way in which Olivia finds this answer. Does she base, “just doing my job” on her perception of Altlivia? Or does she base it on how she sees herself? While this is such a small detail, I find it to be a useful consideration. It’s not so much the answer that’s important, but the way she conveys it. For what it’s worth, I think she’s describing herself. Saving people is Olivia’s job – she sees it as her responsibility. Altlivia, though similar, comes from a slightly different direction.
- Olivia asks Chris if he wants to talk somewhere else: “Where’s your favorite place to go?” The very next scene his wish has been granted as they appear by the lake of his memories. Obviously that’s not how it actually happened But that’s how it played to me. I’m not sure if that was the intent (probably not), but a lot of focus has been placed on hoping and dreaming lately – from Peter’s “I gotta believe there’s a better way/there’s always hope”, to the snow globe imagery, to Olivia compelling herself back to her original universe. Maybe it’s just a feeling the creators want to convey, but I continue to wonder about the real nature of this vacuum of ours.
- From the sublime..to the ridonkulous:
“The Candy Man’s had the boy for 36 hours”
- LOL Walternate! Something about the way he said that totally took me out of the scene. After this episode, I never want to hear the words Candy and Man used in the same sentence. Unless someone is saying, “Hey, you want some candy, man?”.
- Walternate also crosses my line marked “Do not dare hurt Olivia”:
Broylnate: “What about this Olivia?”
Walternate: “..I don’t believe we’ll be needing her anymore”
- Don’t even go there, Walternate.
- Touching scene between Chris and Olivia:
Chris: “My dad says that I need to forget about what happened.”
Olivia: “Oof. But it’s hard to forget isn’t it? I can imagine what it must have been like for you. How scared you must have been, how much you must have wanted to get back to your family and friends.”
- Olivia should indeed know, her own ability to remember has kept her in the game. And yet, so much of her childhood remains locked away.
- One of the things I liked about this scene was Olivia’s ability to understand how a child’s mind works. She is able to get the truth from Chris using intuition. But then, she’s displayed child-like qualities with both Ella and the Observerkid.
“He said if I told anyone about him, he’d come back. He said this time, he’d hurt my mom.”
- This is a reminder that while much of the focus goes on adults protecting children, often children also do whatever they can to protect the adults. This has been seen throughout the series, not just with Chris, but also with young Olivia’s status as ‘gate-keeper’ and the brave young Peters who, on their death beds, had the awareness and maturity to give their parents a lasting message of comfort. And of course, we see a similar dynamic today with Peter and Walter’s child/parent roles being reversed. Therein lies another aspect to the ‘childhood abduction’ theme.
- Lincoln says that every time a new Fringe event happens a new church pops up. This is an intriguing little line because it’s another example of the almost inherent need for balance. In times of crisis people seek solutions – “through suffering comes redemption”. While no-one wants to suffer, overcoming obstacles can be viewed as redemptive and freeing.
“Faith, that’s what will heal this wounded world”
- Naturally, faith could be argued to be the counter-balance to science. Science has left a trail of devastation throughout the chapters of Fringe. While I have my own personal views, it’s interesting to ask what is being implied here in the context of the story. Is it really enough just to have faith? Or does both science and faith need to be combined? Perhaps it’s also important to realize when to leave things in the hands fate?
- It seems a bit strange that Faux Reverend would lead the team right to his pupil’s door. I guess he gave Wyatt Toomy the heads-up? Creep.
- As well as being a total fraud – healing his congregation through the enforced ‘sacrifice’ of children, he was also petty. He actually kept his promise to Chris by coming after him again. Obviously there’s a lot of full circle here, but he actually believes he’s doing God’s work? To make matters worse, he uses the ‘greater good’s’ better half ‘the common good’ as his justification.
- Gotta love Captain Broyles. He got his resolution, one that would obviously forge his bond with Olivia and acknowledge the sacrifice she made for his son. Although I have problems with the way it was structured, the message is no less important. Olivia has the capacity to give of herself to others, even when her own need is incredibly great. Anyone still wondering why I have serious issues with Walter need only examine that quality.
- One thing I’ve been wondering is the trade-off between Olivia and Altlivia’s memories now that the Dunhamnator appears to be back int he driving seat. Personally I believe that there will always be a bit of Alt-Liv in Olivia as a result of this experience. And this episode seems to hint at that, since she’s still very much acting, walking and talking with some of Altlivia’s nuances. Will this wear off in time? Perhaps, but I don’t think it will go away entirely. Olivia’s self-healing (because that’s what this whole experience represents to me) will surely help make her even more equipped for the battles ahead.
Broylnate: “You know who you are, don’t you?”
Olivia: “What happens now?”
Broylnate: “Now..I’m going home”
- If this moment seemed to carry an extra weight, it’s probably because it’s the inverse of Broylnate’s message to Olivia in “Amber 31422”. And what a fantastic moment it was too, with Olivia appearing to vanish into thin air.
- I enjoyed the send-off between Olivia and Henry, even if it was a little abbreviated. She’s right, he did more than just get her a boat, he believed in her. This theme was also explored in the episode “Peter” with Walter asking both Elizabeth’s not to doubt him. Olivia is now able to tell Henry the truth: “I’m from a parallel universe” – this sets her free.
- I really enjoyed the intensity of Olivia passing on the message to the gift shop lady. Although I have to wonder what, exactly, Olivia was planning to do otherwise? Did she think the adrenaline would hold her in play for long enough for her to contact the Bishop Boys? And why didn’t she just use the phone?
- Walternate’s face! He looked like he had gotten a whiff of one of Walter’s specials. A look of utter contempt. He only has himself to blame though, you can’t leave Bra & Panties Tanks™ lying around like that. Seriously.
- The sight of those two snuggled up in Olivia’s bed made me ill. I’m surprised they didn’t have the popcorn out. Has Altlivia forgotten about Frank? Shouldn’t Peter be working around the clock on the Vacuum pieces? After all, it’s only two universes at stake.
- “Well aren’t all the best love stories tragedies?” – Don’t tempt me, Petah.
- The scene’s redemption, though, came with the gift shop lady delivering Olivia’s message:
“Is this Petah Bishop? I’m, like, calling from New York. I know this is going to sound craaazy, but I just saw a woman disappear in front of my eyes! Her name was Olivia. She has a message for you:
Get out of my dang bed you gullible b******!She’s trapped in the other universe.”
- Firstly, well done gift shop lady! I apologize for the subsequent loss of your mind, but well done you. Have a snow globe. Secondly, Petah’s face! I can just imagine the thoughts going through his mind at that point, something like:
“Olivia? But she’s right here with me. And we just made sweet, sweet love to U2. No, it can’t be. Am I dreaming? I’d know if Olivia’s was trapped in the AU because I have an IQ over 3.7. Ah, it must just be a prank caller. I’ll sleep on it and…ZZZzzzzzz”
And tomorrow, the Boy Wonders…
A good episode that did what it needed to do without really reaching the heights. Perhaps the most disjointed episode of the season so far, but the level of meaning embedded into this installment gave it depth. Wonderful final scene that surely represents the awakening of Peter, setting things up nicely as we move towards the mid-point of the season.
Best Performer: Anna Torv.
Best Line: “I know what it’s like to lose a son, and even when they come back the damage is irreparable” – Walternate.
Best Moment: Olivia’s message to Peter.
Episode Rating 7.5/10