
Maybe it was that the most enigmatic elements of
Lost were doled out slowly after characters were more fully developed, and after much more familiar, but still extraordinary, crises were faced—a plane crash, kidnappings, even the unseen creature. The most unbelievable aspects and plot twists were doled out over several seasons after I was already hooked.
But already in
Fringe, it’s less the events making up the Pattern that seem implausible—it's a sci-fi show, so I’m will to suspend disbelief that the bad guys could have developed a toxin that turns the flesh translucent or a growth accelerator that causes a fetus to develop into an old man in a matter of hours. It's the near-instantly developed methods our heroes use to solve the crimes. "What if we linked your brains so that you could communicate with the victim in the coma to find out who blew him up?" "What if we attached a monitor to the victim’s retina to capture the last images she saw before she died? You know, like Jules Verne posited." Rather than amazing scientific breakthroughs that will be used to further the progress of man, they’re presented as impressive one-offs. The main character in
Fringe isn't FBI agent Olivia Dunham (Anna Torv), the mad professor Dr. Walter Bishop (John Noble) or his genius son Peter (Joshua Jackson). It's the
dues ex machina who's neatly solved the puzzles of the first two episodes.