Entertainment Weekly’s Fall TV Preview

Entertainment Weekly’s Fall TV Preview offers readers a complete guide to 85 of the season’s biggest shows – from Melrose Place to The Mentalist. And a look at Fringe, which is back with a mission to bring sci-fi to the masses.
Last year’s most heavily hyped new drama, the gory and witty Fringe was engineered by creators J.J. Abrams and screenwriters Alex Kurtzman and Robert Orci to be a high-impact hybrid of The X-Files and CSI – a serious yet accessible sci-fi series. Though the highly anticipated thriller started shakily, making geeks wonder if Abrams and his reliably mind-bending production company had finally let them down, Fringe ended its first year with a finale filled with insane, chat-room-exploding twists that won over a skeptical fan base. Now Fringe will try to maintain its momentum in TV’s most competitive time slot. “We’re not looking to take down CSI or Grey’s Anatomy,” says Kevin Reilly, Fox’s president of entertainment. “But if it can get in there and remain consistent, that’s important. We can make money, even at a more modest rating.” But if Fringe is to thrive, Abrams’ team will have to apply the lessons learned from its rocky first season. Says Abrams: “It’s going to sound weird, but a show starts talking to you and telling you what it wants to be. It took us a while to hear it.”
As the series approached midseason, some elements began to jell, and buzz began to grow. At the same time, Fox launched a viral marketing campaign and while Fringe’s ratings stayed much the same, feedback and Web chatter indicated that the show was beginning to inspire more viewer loyalty. Joshua Jackson says “This has been the total opposite of my Dawson’s Creek experience.” Unlike the teen soap that was an instant hit when it debuted in 1998, “Fringe has taken a while for the show to percolate in the pop culture. I would never complain about being on a show with the words ‘J.J. Abrams’ above the title, but the expectations were impossibly high.”
The show’s most crucial story line belongs to Jackson’s Peter Bishop. “Eventually, he’s going to learn where he really comes from, and everything is going to blow up,” says Jackson. He adds that his character will be getting a heroic makeover in season 2; it’s a project that the writers couldn’t address in season 1 because of the other kinks they were working out. “Season 1 never figured out the question, What’s Peter’s function as a member of this team?” says Jackson. Season 2 will tackle that immediately.
The premiere also hints at romantic potential between Peter and Olivia (Anna Torv), even though both Torv and Jackson hope it’s not the case. “I see Peter and Olivia more as a brother and sister with a truly bizarre father figure – three broken people, coming together as a dysfunctional family,” says Jackson. Adds Torv, “I hope they don’t put us together. That would be so conventional. What’s interesting about this show is that in many ways, Olivia has the masculine role, and the two guys are the women. She carries the gun, they sit around and talk. I think that’s pretty cool.”
In the midst of its creative surge, Fringe strives to be considered a hit. Not a niche hit, not a cult hit, just a hit. “There is an agreement here that we are seeking excellence,” says actor John Noble. “When things are ‘just okay,’ we don’t feel like we got away with something – we take it personally….If we can hold our own on Thursdays, it’ll say that we’re not some misplaced Friday-night science-fiction show – we’re mainstream entertainment.”
























