Any show that teams The Wire's Cedric Daniels (Lance Reddick), Spock (Leonard Nimoy), Pacey Whitter from Dawson's Creek (Joshua Jackson) and Denethor from that mystical goblin trilogy thing (John Noble) is onto something. Or possibly on something. Co-created by J.J. Abrams, Fringe relives those glory pre-millennial tension years of The X Files when it was perfectly acceptable to claim your missing coffee mug was actually a conspiracy that spiralled all the way to the highest levels of government.
Fringe's first 15 minute are jaw-dropping (literally, in one instance) and highlight its promise and flaws. It's a high concept show that relies on episodic, self-contained puzzles and typically gruesome crimes being solved through 'fringe' science - mysticism, teleportation, retina mapping and so on, whilst in parallel unravelling the workings of a shadowy and sinister multinational defence and technology company.
It seems like Abrams is making up for the loss of good-will experienced by one of his other shows - Lost - where mysteries are frustratingly left hanging for months on end or pushed into dead-ends, because Fringe moves at a swift pace and manages to score a balance of immediate outcome delivery and plot arcs that encourage commitment. That's the promise. The flaw is character development; Anna Torv as FBI agent Olivia Dunham is wooden and detached and whilst this might adequately suggest a degree of wonder and shock, as the story tightens its grip it becomes a tad repetitious. Reddick plays the stiff Homeland Security type guy straight down the line but he can do so much more. Still - it's that guy from The Wire! On the other hand, Noble and Jackson riff off each other gloriously as loopy, genius father and impatient, unforgiving son and Nimoy... well, enough said. The latter easily makes up for the former. Production design is impeccable giving Fringe a visual tightness and disconcerting sense of unease that elevates the show far beyond its shaky foundations.