September 2012

Pushing boundaries: Morality and justified science in Fringe

I co-wrote this piece with a friend over the summer. Spoilers for season 4 of Fringe. Enjoy, and please feel free to leave comments below.

We noticed a marked difference in Future!Walter in “Letters of Transit.” He was much more like Secretary of Defense Walternate than he was the Walter that we are familiar with. However, this difference only comes after the Future!Fringe team has regenerated his brain using the tissues from the brain sample that we now know contained the plans to create the New World.

Now that we know that the “man he didn’t like that he was becoming” was related to a concentrated series of ideas as opposed to a holistic character trait, might we see a Future!Walter next season who tries to recapture that idea and escapes from the world overtaken by the Observers by creating an alternative universe?

It would be an interesting symmetry and move for the character—to go from being responsible for the near destruction of an alternate universe to the creation of a new one.

And we, the audience, will be okay with Walter’s work to create a new universe because he will do it to save mankind. Fringe has always played with ideas of moral and immoral science, and in season 5, we will see this boundary bend and shift.

Originally, we were asked to believe that crossing universes was a bad thing. Walter upset the balance and both worlds suffered because of his actions. But in the past four years, we have also seen positive outcomes from crossing over: Peter and Lincoln found their “homes” in the universe where each man was not born. The dopplegangers worked together and shared experiences. Both Fringe divisions were better for it. Walter and Walternate found forgiveness and reconciliation for their past actions.

We’re okay with the outcomes of crossing universes, but we’re having a hard time sympathizing with Bell’s attempt to destroy the universe and make a new one. And we know why: he didn’t have a reason for what he was doing, except that he could. (Bell said so in Brave New World, Part 2: “God made us in His image. If that is so, if we are capable of being gods, then it is our destiny to do so.”)

So along with the moral/immoral boundary, we have this question of “If you can achieve something through science, should you?”

This is where the push comes in and we’ll bend that boundary between moral and immoral. We’ll be okay with Future!Walter if he creates a new universe in order to defeat the Observers and save everyone because he will be pushing the boundary for the sake of something good—not only because he can. We might be concerned with what the other characters will think and if they’ll allow Walter to carry out his ideas. But we’ve seen that Olivia will do whatever it takes to save the world, and so will Peter, Astrid, and Broyles.

We wind up having to reassess the situation and change our position on its morality when it becomes re-contextualized. Everything must be considered in its context, and new situations each have their own context (sometimes as a result of past events or decisions, sometimes entirely new). The writers complicated (and then made irrelevant) the morality issue when they re-contextualized it within an argument on survival: should the Fringe team work to preserve the established world or create a new one? One issue collapses, and then we get tangled into new ideas.

So what we’re really saying in the end is, “science for the sake of science” is immoral, but science for the sake of humanity is justified. That’s interesting since the premise of the show is based on experimental science. The Fringe Division started out fighting the outcomes of experimental science, and in season 5, experimental science will become their weapon to fight the Observers (we hope).

Becoming human through rebellion: September’s character development

I wrote this article for a Fringe fanzine but since I don’t know when the zine will be published or if this piece made the cut AND we’re allowed to share our articles on our own sites anyway, I’m posting it here. I’ll update this post with a link to the zine if/when it’s published. Here’s a look at September’s development over four years of the show. Spoilers for season 4.

“Disobedience, in the eyes of anyone who has read history, is man’s original virtue. It is through disobedience and rebellion that progress has been made.” – Oscar Wilde

Walter violated laws of the universe when he crossed over to save Peter. David Robert Jones crossed ethical lines with his real-world-as-a-laboratory experiments. Nina Sharp withheld information that could have helped the fringe division. Altlivia deceived everyone on our side.

But the character whose prohibited actions have had the most impact is September. He broke the rules when he visited Walternate in 1985 and distracted him from curing Peter. September’s interruption set off a string of events (and alternate events) that have unfolded over the past four years on Fringe. September’s initial interference led to continued disobedience of the Observers and ended in season four with him siding with the humans.

But he didn’t switch sides over night. Let’s take a look at September’s development.

The Observer: When we first meet September, he seems exactly like all the other Observers. He dresses like them and speaks like them. Most of the time, he stays in the background, simply watching.

The Interrupter: September wanted to witness the moment when Walternate cured Peter, but he accidentally distracted Walternate. When Walternate failed to cure Peter, September had to interfere to save Walter and Peter from drowning in Reiden Lake. Peter was safe, but he was in the wrong universe. Even worse, Walter’s crossing upset the balance between the universes. All because of September.

The Sympathizer: Again and again, September shows up to help Olivia, Walter, and Peter. September isn’t supposed to make contact with present-time humans, but he keeps disobeying the Observers’ rules. At the end of season two, September appears to Olivia and, as a warning, leaves her a picture of Peter activating the Machine. In season three, September prepares Walter to sacrifice Peter (so that later Peter can bridge the universes and heal both worlds). The bridge doesn’t completely erase Peter from the timeline, though, and instead of finishing the job, September’s lack of action allows Peter to re-enter the timeline. September cares what happens to Olivia, Walter, and Peter, so he warns them about future events, prepares them for what’s coming, and deflects the other Observers’ attempts to reset the timeline. Which finally leads us to…

The Rebel: At the end of season 4, September explains to Walter that the Observers are going to invade Earth in 2015. This is September’s final act of disobedience: warning the fringe team about the coming invasion and in doing so, giving them time to prepare a defense.

September’s disobedience puts him back in touch with emotions—the essence of being human. His rebellion allows for progress, but not in favor of the Observers. Instead, September’s actions allow him to help the fringe team. We don’t know the primary reason for September’s disobedience, but fan theories suggest that he is the young boy in “Inner Child” (season 1, episode 15). If that’s true, maybe September is returning the favor: the fringe team helped him, so he helps them. Perhaps we’ll have a definite answer in season 5.

Steal Like An Artist: Routine Art

This is the best advice I have read about creative work:

Be boring. (It’s the only way to get work done.)

It’s from Steal Like An Artist by Austin Kleon, which is an excellent book for anyone interested in creative work. It’s full of practical advice.

Most people have to practice their art for a while before they can make a living off of it, so in the mean time, they need a regular job. Austin says, get a job you can tolerate, pay your bills, and build a routine. When you have regular hours that you work, you know what time you have left, and you can carve out time to write stories, compose music, take photos, draw…whatever it is that you do.

Better yet, Austin points out that if your job doesn’t take a lot of creative energy, you’ll be happy to pour that energy into your hobbies. You take care of yourself, and you keep your mind in the right place to produce art.

This is more useful than the advice I’ve seen that focuses on craft. Other books I’ve read on writing tell me to set a daily word count goal and find a distraction-free space—which is fine, but they don’t connect creative work to the rest of your life.

Steal Like An Artist is the first book I’ve read that blends creative work with the average, day-to-day things. It’s the first time I’ve said, “Yeah, that’s something I can try today.”

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