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  • Fringe

    Saw Keri Russell on Kimmel this week talking about how JJ Abrams put her in Mission Impossible and showed up when she got her star on the Hollywood Walk of Fame this week. I was jealous. I wish JJ Abrams would give Josh a little action film work. I'm not asking for a big part.

    Also as an Americans fanatic it kills me how no one knows or cares about Matthew Rhys when I think he is everything. I was looking at Lainey Gossip and they were all about the reunion with Scott Speedman and had 20 pictures of that and no pictures of Matthew (who also attended the Walk of Fame ceremony). I had to rhapsodize all alone about the way Keri and Matthew kissed during the ceremony and then she wiped her lipstick off of his face by fingering his nose and mouth in what seemed to me to be a gratuitously sensuous gesture. Sigh.

  • #2
    15 Greatest TV Plot Changes Dave Bath 06.24.17Entertainment

    The Richest:
    #14 Fringe

    Fringe is one of the few shows that made changes to the plot that greatly improved the series. The series followed the Fringe division of the FBI dealing with supernatural and paranormal threats. It aired for 5 seasons from 2008 to 2013 and starred Anna Torv, Joshua Jackson, and John Noble. Initially, the series was a simple ‘mystery of the week’ show with the occasional monster here and there. Soon, the series moved away from that format and had more long story arcs spanning several episodes and seasons. The show went deeper into the series’ mythology by introducing parallel universes and alternate timelines. Fringe made another drastic change to the plot in the final season when it jumped forward 24 years into the year 2036. The series now took place in a dystopian future where the heroes must restore the past. The series had a bit of a rough start but the changes they made turned the show around.


    • #3
      Arizona State University has cool events:

      Tue, September 26, 2017, 6:30 PM – 8:30 PM MST
      Science Fiction TV Dinner: Fringe

      by ASU Center for Science and the Imagination

      Tue, September 26, 2017

      6:30 PM – 8:30 PM MST

      Add to CalendarLOCATION

      Interdisciplinary Science & Technology Building IV

      ASU Tempe Campus

      781 E Terrace Road

      Tempe, AZ 85281

      Fringe is a police procedural tailored for a conspiracy-addled culture: a fever dream of near-future biotechnology research, Timothy Leary-esque 1960s counterculture, and the seemingly ineluctable creep of corporate governance.

      Created by J. J. Abrams, the mastermind behind Lost, Alias, and Star Wars: The Force Awakens, Fringe envisions a future shaped by shadowy, unaccountable "Big Science" corporations. The series follows a small group of FBI investigators as they try to untangle an increasingly bewildering web of misdeeds and crises—and eventually, anomalies bubbling up in the fabric of space-time.

      Join us for a screening and conversation with Andrew Maynard, professor at ASU's School for the Future of Innovation in Society and director of the Risk Innovation Lab, and Heather Ross, clinical assistant professor in the School for the Future of Innovation in Society and the College of Nursing and Health Innovation. Andrew and Heather also host the Future Out Loudpodcast; our conversation will be recorded as the centerpiece of an upcoming episode.

      We'll have dinner available for the first 150 guests.

      Location: Need help finding the Marston Exploration Theater? Here's a map.

      Parking: Parking can be challenging on ASU's Tempe campus. We recommend that you use the Metro Light Rail to travel to the event, disembarking at the University Drive and Rural Road station. You can also use the Valley Metro bus system. If you'd like to explore options for visitor parking on campus, please visit the ASU Parking and Transit website.

      Seating: Seating is first come, first served, and your RSVP does not guarantee a seat. So please arrive early, or at least on time!


      • #4
        Why Now is the Perfect Time to Re-Visit FRINGE

        The underrated sci-fi series has never felt so mandatory.

        By Lindsey Romain Oct. 16, 2017, Birth. Movies. Death

        I miss Olivia Dunham.

        I think about her all the time. As workplace assault cycles through the news, week after week. As women in positions of power are publicly tried for not doing enough, saying enough, being enough. As the world slips like sheets of ice into an endless void of destruction: the hurricanes, the fires, the threat of nuclear destruction. I think of her most of all when I consider our president, and the annihilation of truth, the fabric of our perceived reality folding into itself at warp speed.

        Fringe is about all of these things, and it’s alarming how even the genre dressing doesn’t distance it from the actuality of our present.

        I thought of Fringe and Olivia a lot this weekend as I watched Netflix’s Mindhunter. It’s hard not to: Both star Anna Torv as a slick, smart, FBI-affiliated badass. Both involve underfunded, top-secret government side projects overseen by an unconvinced official. Both dig into the psychology of psychopaths, probing at universal questions that have no answers but court them anyway. And though they diverge wildly in tone and circumstance, there was a familiarity in the whiskey-sipping, retro-drenched aesthetics of long, flickering hallways and noir-ish winks and nods. I love both shows, but the dreariness of Mindhunter made me crave the vibrant optimism of Fringe, a series that – as the world spins madly off the wheels – I suddenly, voraciously crave.

        For the uninitiated, Fringe – Fox’s little-seen but much-loved sci-fi drama – follows FBI agent Olivia Dunham (Torv) and the Fringe Division, a ragtag team of investigators who use fringe science and other unorthodox methods to study a series of unexplained, seemingly natural occurrences tied to the existence of a parallel universe. The division is comprised of Dunham, junior FBI agent Astrid Farnsworth (Jasika Nicole), the formerly institutionalized mad scientist Walter Bishop (John Noble), and his ex-con son Peter (Josh Jackson), whose mysterious origins anchor the show’s central mystery. Lance Reddick, Seth Gabel, Michael Cerveris, Kirk Acevedo, Altered States Blair Brown, and Leonard Nimoy all play notable supporting roles.

        The through-the-roof excellent cast is just part of the alchemy that makes Fringeso special. It’s the beautiful, zany way the actors are characterized that makes all the horrific shit they investigate – from fused inter-dimensional corpses to shape-shifting government soldiers to time-traveling train riders – understandable, almost quaint. Noble’s Walter is a standout, a man so ravaged by the demons of his diabolical past that he’s turned grandfatherly by the trauma, his love of pastries and recreational drugs as pronounced as his knowledge of quantum physics. Who can forget the image of Walter, elbow-deep in autopsy blood, chomping away at Red Vines while he marvels at human anatomy? It’s hard to reconcile that Walter with the destroyer of worlds he once was. But it’s that exact moral dichotomy – one that mines the good and evil that exist in a single person – that keeps Fringe from feeling like other run-of-the-mill genre fare. In Fringe, the heroes are the villains are the heroes.

        That notion is pushed even further as the show moves into parallel universe and time travel territory, and we’re introduced to the many alternate versions of the Fringe Division team. It’s a literal confrontation of id, with characters encountering the visage of what they might have been, or what they could still be with a little twist of fate. The once-bad, now-good Walter of our side meets the once-good, now-bad Walter of Over There. Similarly, the hardened Olivia of our side meets her sprightly other universe döppleganger, a woman who looks the same but suffered less – no abuse at the hands of men, no divorce, no treacherous lovers.

        Walter may be the show’s lovable brute, and Peter the de-facto “chosen one” – or as close as Fringe gets to that sort of archetype – but Olivia is its gravitational force, the character I connected with immediately and still, all these years later, can’t seem to shake. Torv was initially criticized for her “wooden” performance, cited in the first season as the show’s weak link. But, as we learned with each shed layer, with each prying storyline, with each other-Olivia reveal, those hollow eyes were merely an affectation. Torv’s Olivia is, actually, magnificent and complex, a field agent battered but not broken by child abuse and experimentation, the psycho-sexual duplicity of a former partner, and all the battering that comes with being a woman in a field occupied largely, and boastfully, by men. In Season 1, she is begrudgingly hired by Reddick’s Broyles, who spends much of the season downplaying her achievements, rolling his eyes in her general direction. That same season, she is taunted by a male colleague who she’d formerly reported for sexual assault, a man protected by her department and boss, who grows more dangerous in their ignorance.

        Olivia’s body is also a tool for the show to examine matters of female autonomy, sexuality, and reproductivity. She floats in deprivation tanks, is probed with needles and experimental drugs, is possessed by a male scientist, nearly ployed into with a brain saw while her other-world alternate fucks her boyfriend in her own bed. Science fiction loves using heroines as springboards for horrific ideas of grandeur, and Fringe is as guilty as this of anything. When I say I miss Olivia, I don’t miss bearing witness to her various tortures. What I miss is her perseverance, and absolute refusal to sink as her body is stripped from her, figment by figment. In the final season – a gloriously whacky and experimental coda that I love as much as I hate – she is punted 20-something years into the future, an incident that, after a few heavy breaths and eye flicks, she blinks away like it’s nothing. Years of being a woman in this world makes reorientation a casual affair for Olivia Dunham.

        Another thing I love about Olivia: She absolutely refuses to accept the apocalypse. Not in any universe. In Season 3’s “Entrada,” as she’s trapped in the depths of a government facility in the parallel universe, she vows to find a cure for the anomalies plaguing that world. “Both universes can survive. There must be another way, and I promise you I will find it,” she says, her face covered in Sharpie markings that point to where scientists will soon cut into her brain. Minutes from her own death, and she’s plotting for global survival. I am woman, hear me roar.

        Olivia’s spirit seeps into the soul and fabric of Fringe, and that’s exactly what makes it such a rewarding, comforting series to revisit right now. As our own world inches closer to what feels like total chaos, Fringe is a happy reminder that perseverance, optimism, family, friends, and Red Vines are a remedy for those larger, darker, all-consuming thoughts. I breathed a sigh of relief as I cued up my Blu-rays, floating back into a world where a father’s love for his son breaks and mends a universal divide, where a woman’s unbreakable spirit leads to the manifestation of literal super powers, and where a strain of marijuana called Brown Betty causes a mad scientist to hallucinate a retro-noir scenario where corpses sing like Willy Wonka. Fringe, you soon discover, is attuned that great, cosmic joke: That there’s no real difference between reality and surreality, that everything is absurd, so let’s hang on tight, fight for what’s right, and enjoy the ride.


        • #5
          "I miss Olivia Dunham."
          Yeah, who doesn´t? Mindhunter buzz´s been good for Fringe, btw.

          Just saw this on twitter, taken 5 years ago, posted today:


          Whose child is it?


          • #6
            Did we see Henry at about that age with Faux Olivia? If not, maybe it's just a crew member's babe.


            • #7
              Oh, I get it. And the second assumption is that in those bulky clothes Anna looks a bit post partum.


              • #8
                Rolling Stone: 20 TV Shows Most Influenced by 'Twin Peaks'

                From surreal murder mysteries and quirky small-town sitcoms to 'The X-Files' – these series owe David Lynch's cult show a serious debt

                When Twin Peaks signed off on June 10th, 1991, it left behind a lot of unanswered questions, a legion of devoted fans – and a serious impact on the medium. Ever since then, showrunners and writing rooms have looked to David Lynch and Mark Frost's "Peyton Place on acid" series for examples on how to push the boundaries of small-screen serial storytelling. It's cast a long, long shadow, and you could argue that almost every other TV show that's hit the airwaves since then – especially in the premium-cable "Prestige" age – has been influenced by the groundbreaking show. We're not living in the Peak TV era so much as the Peaks TV era.

                There have been a handful of mysteries, melodramas and quirky comedies, however, that owe a bigger or more obvious debt to this story of secret lives and curdled small-town Americana than most. We've singled out 20 TV shows – some old, some new, some niche, some network hits – that have borrowed elements of Twin Peaks and run with them. It may be the "Dead Girl" catalyst that's turned into a television trope, or it might be the oddball denizens that populate an out-of-the-way woodsy burg. It could even just be a weird-as-hell vibe that a series shares with Lynch and Frost's lysergic primetime soap. But all of these well-known series have certainly built off the weird, the wonderful and often WTF Peaks foundation.

                'Bates Motel'

                It's not just the Pacific Northwest setting or the vision of parents and teenagers with murderous intent that ties this underrated prequel-ish riff on Psycho with its small-screen ancestor. Just as Peaks took viewers to the other side of the tracks, Bates Motel tapped into that undercurrent of criminal behavior lurking behind the postcard-beautiful pine trees. It also shares the wonderfully anachronistic DNA of the Lynch/Frost show – characters who seem not just born in the wrong era but flung out of a pop culture vision of a time that never actually was.


                Although this British detective series never flirts the supernatural or surrealism, its depiction of an otherwise nice, small-town community ravaged by the death of an 11-year-old echoes Twin Peaks in its characters' finger-pointing, paranoia and fear of their dark sides being dragged out into the light. It's often driven by the friction of its lead detectives, the tic-driven outsider Alec Hardy (former Doctor Who star David Tennant), and local constable/friend of the victim's family Ellie Miller (Olivia Coleman) – whose relationship at times bears a strong resemblance to the dynamic between Agent Cooper and Sheriff Harry S. Truman. Broadchurch's first season ranks among the best-written stand-alone runs in recent TV history (the less said about the American remake Gracepoint, the better), and its one of the rare series on the list that acknowledges its influences but doesn't necessarily feel overwhelmed or eclipsed by them.


                Given David Lynch's penchant for "freaks," it would be easy to guess that writer-producer Daniel Knauf's HBO drama about a traveling carnival troupe had some Peaks-like qualities. (Its ensemble cast included Lynch regular Michael J. Anderson, who played The Man From Another Place.) But Carnivàle's connection goes beyond its crossover cast member; you can see TP's influence in the series' slow pacing, supernatural elements and macabre themes. And like Lynch's show, it suffered from a premature cancellation that left a slew of unanswered questions. "I've been calling it Twin Peaks with logic," Anderson said back in 2003. "The plot slowly unfolds with layers and layers and surprises deep inside."

                'Desperate Housewives'

                Blessed with an inspiringly sleazy series title – seriously, how could viewers resist? – showrunner Marc Cherry's zeitgeist-tapping dramedy/mystery shared more with Twin Peaks than just their network, ABC. The show's picket-fence logo was a nod to the sordid suburban sin and secrets of David Lynch's Peaks period, one which the series itself more than lived up to. And Housewives’ ghostly narrator, the late Mary Alice Young, was voiced by TP alumna Brenda Strong – a replacement for the actress who played her in the pliot, Sheryl "Laura Palmer" Lee.


                When writing partners Alex Kurtzman and Roberto Orci conceived their Fox sci-fi detective series about a team of mismatched investigators, David Lynch's iconic show was on their mind. "Alex was a big Twin Peaks fan," Orci said, "so he wanted that sort of surrealistic FBI element to it." Co-created with J.J. Abrams, Fringe tapped into the same dark, off-kilter vibe, mirroring Twin Peaks' uneasy juxtaposition between the "ordinary" world and the frightening strangeness coursing underneath. And it wasn't above making explicit references: In one episode, John Noble’s madman genius Walter Bishop mentions that some 3D glasses "were created by an old friend of mine: Dr. Jacoby from Washington State." And in a later episode, his son Peter (Joshua Jackson) would find himself in an eerie, heavily forested small town famous for its delicious pies. (Diehard Twin Peaks fans also appreciated the episode's title, "Northwest Passage" – the name Lynch originally used for his show.)


                It's easy to point to Hannibal's nightmare-fuel aspects and say that they never would have been allowed on network television without the ground broken by Bob and the One-Armed Man over two decades earlier. But there's another aspect to this masterful program that owes a debt to ABC committing to Lynch's vision: the concept of auteur-driven television. As much as Twin Peaks feels at one with the Lynch filmography, this take on Thomas Harris' infamous cannibal doctor is fueled by the singular, surreal-as-hell vision of creator Bryan Fuller. Fans hope this show has the same fate as Peak: a movie and an eventual reboot.

                'The Killing'

                Would the murder of girl-next-door-with-secret-sordid-life Rosie Larsen feel the same without the murder of Laura Palmer two decades before? When the first season of this American version of the Danish Scandi-noir series failed to resolve the investigation, it was impossible not to flashback to the end of Peaks' freshman year, when audiences raged at the lack of conclusion (it's arguable neither show survived in the mainstream after that feeling of audience betrayal). Most of all, both shows were about the ripple effect of crime more than the actual crime itself – how a murder doesn't just impact the friends and family of that person but an entire town. Not to mention that The Killing's Pacific Northwestern setting could not have been more evocative of Lynch's version of woodsy Americana gone to rot.


                It's not the Black Lodge exactly – but dig that astral plane pad inside a super groovy ice cave/mind palace, the one complete with a rad hi-fi and some top-shelf booze. Extra-dimensional spaces are hardly the only thing that Noah Hawley's exceedingly trippy, brilliant superhero show for FX shares with David Lynch’s exceedingly trippy, brilliant murder mystery. Both take place in a heightened reality that mostly resembles our own, both skillfully employ disconcerting imagery to fuel narrative tension, and both make the most of an otherworldly boogeyman who’s a real creep. In Legion’s case, it’s the shape-shifting parasite known as the Shadow King, a.k.a. the Devil with the Yellow Eyes, who lives inside his victim's mind – the dictionary definition of what TP's possessed one-armed man described as a "parasite."


                J.J. Abrams's genre-bending adventure/soap/whatsit brought weird mysteries to the mainstream, but it never could have gone as far down the side roads it did if Twin Peaks hadn't paved the way. Lost initially seemed to be a character-driven survival drama about plane crash survivors stranded on a desert island. And then the story got far strange. Very strange. By the end of its six seasons, the series had incorporated elements of sci-fi, supernatural and the psycho-spiritual, with characters ranging from jittery physicists and charismatic cult leaders to, well, polar bears and Smoke Monsters. Much like Twin Peaks, the show raised many more questions than it ever took the trouble to answer. Luckily, we kind of loved basking in the confusion.

                'Northern Exposure'

                This CBS series premiered in July 1990, only a few months after Twin Peaks, first hit the airwaves – and this low-key comedy's philosophical musings and detours made it the cheerier twin to Lynch's darker show. Northern Exposure's Cecily, Alaska, may be at a slightly higher latitude than the Pacific Northwest, but it was just as chock-full of eccentrics. And its remote climes also welcomed in an outsider: Dr. Joel Fleischman (Rob Morrow), a New York City doctor dispatched to the snowy north. The Log Lady probably wouldn't feel out of place among the residents of the show's kooks, who were no less strange than their neighbors to the south ... though distinctly less sinister.

                'The OA'

                The question isn't who killed Laura Palmer, but who, or what, is Prairie Johnson? New-age auteurs Zal Batmanglij and Brit Marling (Sound of My Voice, The East) dreamed up Netflix's mind-bending metaphysical series about a blind woman (played by Marling) who is discovered after a years-long disappearance with her sight restored. In clandestine meetings with four troubled teens and a high school teacher, she explains how she came by her new identity as the "OA" – an outrageous tale involving Russian oligarchy, near-death experiences and unlocking the door to heaven. A mysterious woman guarding a dark secret is a Lynchian staple; Batmanglij and Marling send that archetype tumbling like Alice down a spiritual rabbit hole.

                'Picket Fences'

                For the past quarter century, TV has in large part been a tale of Davids, from Lynch to the triumvirate of Chase (The Sopranos), Simon (The Wire), and Milch (Deadwood). But there was once a time when David E. Kelly – the man behind Ally McBeal, Boston Legal, et al – was the biggest David of them all. His show Picket Fences was a reliably engaging crossbreed of police, legal and medical dramas, set in a strange small town in Wisconsin with more than its share of TP's goofiest charms. A stellar all-star cast – Tom Skerritt, Lauren Holly, Fyvush Finkel, Kathy Baker, Don Cheadle, Ray Walston, Marlee Matlin and more – helped insulate it from charges of quirk for quirk's sake.


                An Archie Comics adaptation that's a self-conscious splice of sexy teen drama with paranormal paranoia? If there's a Lodge where the dreams of TV critics reside, Riverdale sprang forth from it fully formed. The previously wholesome characters responsible for decades of G-rated comics and the bubble-gum pop of “Sugar Sugar" get the steamy, dark-underbelly-of-Americana treatment, as overseen by Roberto Aguirre-Sacasa and Greg Berlanti, whose careers straddle the comics and TV worlds. The show's fans don't call this "HAWF" (Hot Archie Who Fucks) for nothing. And doesn't that shot of the town's "Welcome to Riverdale" sign look eerily familiar.

                'The Sopranos'

                Creator David Chase has spoken at length about Twin Peaks as a primary influence on his show, specifically David Lynch and Mark Frost's vivid evocation of place and how they expanded the possibilities for small-screen storytelling. But the more specific connection between the two shows comes in their surrealist dream sequences, which reflect the fear and anxiety that trouble the waking lives of their characters – and hint at the dark machinations that threaten their future. Without the backwards-talking dwarf in the Red Room, there might not have been Big Pussy as a talking fish.

                'Top of the Lake'

                It should be said upfront that Jane Campion, the creator of this New Zealand-based murder mystery, Top of the Lake, has an idiosyncratic, independent sensibility of her own (see The Piano, Sweetie). But Twin Peaks has long been a useful road map for directors breaking into television, and the resemblance between the two series is uncanny: Both are warped whodunnits set in a remote mountain community, both are about the violation of young women, and both cast actors in their most eccentric roles – like Holly Hunter, who turns up here as an androgynous Swiss guru offering restorative therapy to middle-aged women. Trade Elisabeth Moss' big-city detective for Kyle MacLachlan’s FBI agent and it's practically a one-to-one exchange.

                'True Detective'

                The discovery of a female corpse sends two homicide detectives on a surreal hunt for a mad man. Sound familiar? The astonishing first season of HBO's crime anthology borrowed plenty of Peaks' menacing atmosphere, especially once Rust Cohle (Matthew McConaughey) and Martin Hart (Woody Harrelson) uncover an increasingly bizarre underworld of small-town corruption and sexual degradation involving an enigmatic "Yellow King." The series also gave the world the phrase, "Time is a flat circle," muttered by McConaughey's existentially wrung-out investigator – which sounds like something a contemplative Agent Cooper might have muttered to himself over a slice of pie and a cup of black coffee at the Double R Diner.

                'Veronica Mars'

                The first season of Rob Thomas' teen noir centered on the death of Lilly Kane, the daughter of a local billionaire murdered in the fictional beach town of Neptune, California. The corrupt local sheriff declares the case closed, but Lilly's best friend, high schooler-turned-gumshoe Veronica Mars (Kristen Bell), smells a rat. The show owes plenty to Twin Peaks: It's noir aesthetic; its unorthodox detective protagonist giving us the play-by-play of her investigation; and most of all, a small town full of shady figures whose moral decay – and shadowy culture of sexual assault – goes all the way to the core. Bonus: Amanda Seyfried, who played Lilly, is also in cast of the Showtime Peaks reboot.

                'Wayward Pines'

                A U.S. Secret Service agent (Matt Dillon) sets out to investigate the deaths of two fellow agents in a remote Northwestern town where everyone acts superficially nice. It appears, however, that the residents of Wayward Pines, Idaho all have something to hide – not unlike the denizens of another quaint little locale a quarter century before them. (Even the title sounds vaguely Peaks-ish.) Based on novels by Blake Crouch, Fox's show revealed itself to be sci-fi–inflected show with a twist; not for nothing is M. Night Shyamalan credited as a producer. Still, the Wholeseome-Town-USA-with-a-secret vibe? Pure Lynch.

                'Wild Palms'

                Cinematic provocateur Oliver Stone spent the bulk of the Nineties crafting frenetic swipes at society's sore spots, from JFK to Natural Born Killers. But he still found the time to collaborate with author Bruce Wagner for this feverishly surreal send-up of Scientology, virtual reality and the L.A. dream machine. Airing on four back-to-back nights on ABC two years after Twin Peaks' finale, the show shared its predecessor's fixation on stunning brunettes (Dana Delaney, Bebe Newirth and a wig-wearing Kim Cattrall); rife with dream imagery, and dark glamour, it seems due for a cult reappraisal any second now. Co-stars Robert Loggia and Jim Belushi would go on to star in Lynch's Lost Highway and the new Twin Peaks season, respectively.

                'The X-Files'

                Two years after David Duchovny played Peaks' cross-dressing DEA agent Dennis/Denise Bryson, he was cast as a more straight-laced G-man obsessed with the paranormal – and ended up becoming part of a Nineties pop-cultural touchstone. In many ways, The X-Files' first season felt like a supersized Twin Peaks: not one but two FBI agents investigating any number of strange happenings in quaint small towns (much of which was shot in Vancouver, near the original TP environs). Although they never discover anything as surreal as the Black Lodge, they encountered monsters and aliens frightening enough to make even square-jawed Agent Cooper flinch. In fact, the shows were similar enough that Peaks fans quickly spread rumors of Mulder keeping a photo of Laura Palmer above his desk in the first season, though it was merely a lookalike ... wrapped in plastic.

                Great, now I'm sad all over again that Carnivale got cancelled.


                • #9
                  I will give Lynch credit for shows focusing small town evil and eccentricity, but he didn’t create mystery nor the way an unsolved mystery creates guilt, regret, paranoia, fear and evil. I would give the movie Laura more credit than Twin Peaks in some instances.


                  • #10
                    TBT and I was none to happy about this. I thought she might threaten Torv's screen time. As it turned out, Jessup came and went before I even had time to fret.

                    #ENTERTAINMENT NEWS
                    JUNE 23, 2009 / 9:44 PM / 8 YEARS AGO
                    Meghan Markle joins "Fringe"

                    Nellie Andreeva
                    1 MIN READ
                    LOS ANGELES (Hollywood Reporter) - Meghan Markle has joined the cast of Fox’s sci-fi drama “Fringe” in a recurring role as an attractive, brash and quick-witted junior FBI agent.
                    The series, set to return for a second season in the fall, stars Anna Torv as FBI special agent Olivia Dunham, who investigates paranormal phenomena with the help of Dr. Walter Bishop (John Noble) and his son Peter (Joshua Jackson).

                    Markle previously appeared in a story arc on the CW’s “90210.”


                    • #11
                      [Fringe autograph sets have increased in value, due to Markle's higher profile]


                      What does the news of Prince Harry and Meghan Markle getting engaged have to do with the hobby? No cards have been announced (yet) but there is an autograph connection.

                      If you opened some 2012 Cryptozoic Fringe Seaons 1 and 2 a while ago, you might want to dig them out. That’s because there’s a Meghan Markle autograph in the product. Now that she’s in line to be a princess, it’s going to appeal to a new, bigger audience of royal collectors.

                      When the set released, a lot of the chase surrounded signatures of series stars Anna Torv and Joshua Jackson. Markle appeared in just two episodes of the acclaimed Sci-fi show. So when it came to the cards, her autograph wasn’t that big of a deal.

                      But that’s changed in recent months since Markle’s relationship with Prince Harry, son of Prince Charles and the late Princess Diana, became public. Although there haven’t been a lot of public sales, likely an indication that the product wasn’t printed in large quantities, the last few to sell on eBay have gone for $125, $134.99 and $83. Those listed now have an asking price of $249.99. ROYAL AUTOGRAPH RULES

                      Now that she is poised to join the royal family, demand for Markle’s autograph will rise. But don’t expect her to sign any more autograph cards. That’s because the royal family aren’t supposed to sign things except in an official capacity. As a result, royal autographs are somewhat scarce, often arriving on the secondary market on things like correspondence.

                      On the screen, Markle is best known for being one of the leads in Suits. Her more than two dozen acting roles. include Horrible Bosses, 90210, Get Him to the Greek and Castle.

                      Although an exact date hasn’t been announced, Prince Harry and Markle’s wedding is expected to take place next spring.

                      __________________________________________________ _

                      2012 Cryptozoic Fringe Seasons 1 and 2 Autographs Include Meghan Markle


                      Boasting a signature checklist that has most of the main cast and even the British royal princess-to-be Meghan Markle, the 2012 Cryptozoic Fringe Seasons 1 and 2 autographs have aged nicely. Signatures of Anna Torv and Joshua Jackson normally see good demand, and several other cards on the autograph checklist command strong amounts. Markle has enjoyed the greatest surge in interest thanks to her 2017 engagement to Prince Harry.

                      Without releasing specific print runs, Cryptozoic has categorized all of the Fringe Seasons 1 and 2 autographs as either rare, uncommon or common. The checklist has 17 total signers (with two #A14 cards) and most haven't appeared in other sets before this. Nine are rare. These include key stars Torv, Jackson, John Noble, Lance Reddick, Blair Brown and Jasika Nicole. The remaining rare autographs come from the show's producers, giving some value to cards that, likely, have more limited desirability. There are also four uncommon options, including Markle, and four common autographs.Case breaks often have duplicates of the commons. Collectors should expect to find at least a couple rare autographs per 12-box case. Sealed boxes are not in great supply but do pop up on occasion. Given the newfound interest for Markle, it is likely more boxes will surface leading up to (and after) the royal wedding.

                      Every box of 2012 Cryptozoic Fringe Seasons 1 and 2 should have an autograph. However, some breaks are turning up empty while others have two.


                      • #12
                        I wish junior FBI agent Jessup good luck.

                        Have never seen these BTS pics before:


                        What were they filming in Dec 2010? Is it Season 3?


                        • #13
                          It’s not when Peter realized he was in the correct universe and rushed to her apartment and they ran to each other in the snow, is it? That was everything.


                          • #14
                            The running to each other, with the spin- kiss, was filmed for 4x15 in Jan 2012. JJ was wearing a different coat:


                            Originally posted by Peony View Post
                            One woman tweeted that when she saw the athlete trending, she was afraid it was Josh the actor and scared that he had been implicated in sexual harassment. I've had the same fear. Happy to see the lovable mentions.

                            I wish Anna Torv would get a question about him while promoting Mindhunter. Fringe is far enough in the past that she may give an honest answer. It's safe to tell the truth. The awful truth. :eek:
                            Would you like to explain? What did Josh do to Anna?


                            • #15
                              I wonder if Josh watches Mindhunter. Josh better have seen the first three seasons of Luther. I demand it.