Television Review: Bad Dreams (Fringe, S1x17, 2009)
Bad Dreams (S01E17)
Airdate: 21 April 2009
Written by: Akiva Goldsman
Directed by: Akiva Goldsman
Running Time: 50 minutes
The seventeenth episode of Fringe is a pivotal moment in the series' development, effectively transitioning the show from a straightforward procedural format to a more complex narrative that seamlessly blends the "Mystery of the Week" format with the broader, overarching mythology arc. This particular instalment demonstrates a maturity in writing and direction that suggests the series has finally found its footing, moving away from the sometimes repetitive nature of early episodes into territory that offers genuine narrative depth. It manages to balance the episodic anomaly with the long-term consequences of the Cortexiphan experiments, creating a story that feels both contained and significant.
The episode begins with a rather deceptive cold open set in an ominously empty subway station, a setting that immediately establishes a tone of isolation and dread. The only individuals present appear to be an African American woman (Rebecca Naomi Jones), and her young daughter in a stroller. Just as a train thunders into the station, she is pushed violently in front of the oncoming locomotive. The perpetrator is revealed to be Olivia Dunham, who wakes up shortly after, initially convinced that the event was merely a dream. This confusion is quickly dispelled when she learns that Risa Pearse, a woman fitting this exact description, indeed committed suicide in New York City just moments before she woke up. The dissonance between her dream and reality sets the tone for the episode's exploration of the subconscious and the blurry line between waking life and the strange forces at play.
Olivia contacts Walter and Peter immediately, and Walter, true to form, suggests some form of astral projection before Olivia shifts gears. She convinces Broyles to grant her a day in New York City to investigate the scene personally. While the death, based on video evidence, appears to be a straightforward suicide, Olivia notices the presence of a strange man (David Cal) whose face she remembers but cannot identify. Later, Olivia experiences another dream, in which she helps a woman (Johanna Day), stab her husband (Victor Verhaege), in an Italian restaurant. This dream proves prophetic; the incident actually occurred, but it was a woman named Mouse Willis who stabbed the husband, Billy. When questioned, Mouse claims that she suddenly became convinced her husband was about to leave her, highlighting the psychological manipulation at work.
Video evidence from the second incident points to the presence of a man, who is identified as Nick Lane, a patient recently released from St. Jude Mental Hospital. A conversation with Dr. Miller (Laurie J. Williams), reveals that Nick Lane possessed an apparent ability to make people around him share his emotional mood. A visit to his apartment uncovers quotes from the ZFT Manifesto, indicating that he was part of a broader conspiracy. It turns out Lane was treated with Cortexiphan as a child and believes he is a recruit in the conflict between two universes. This connects the episode directly to the show's central philosophical conflict, elevating a simple murder mystery into a piece of espionage thriller narrative.
Walter admits that he took part in the Cortexiphan experiments two decades ago and that Nick and Olivia were used as a pair in a "buddy system," thus creating what appears to be a psychic bond. Walter attempts to use this bond to track Nick and drugs Olivia so she can witness his actions remotely. She sees Nick go to a strip club, seduce a stripper named Ginger (Kelly Britter), simply by being aroused in her presence. He brings her to his place where they have sex, and later he feels remorse, causing Ginger to slit her throat. This sequence is grotesque and visually striking, showing the extent of Nick's emotional volatility and the destructive power of his connection to others.
As Olivia investigates, Nick decides to commit suicide and brings a number of people to the top of a building, putting them on the ledge. Walter believes that Olivia, because of her past, will not be influenced by Nick. She confronts him on the roof, and he wants her to shoot him, threatening to make the other people jump otherwise. Olivia shoots him in both legs, thus making him and his victims immobile. Nick is later put into custody and brought into an induced coma. The climax is a tense standoff that relies on the characters' knowledge of one another's abilities rather than just brute force.
Bad Dreams is significant as the first episode of Fringe being written and directed by the same person, Akiva Goldsman. Goldsman is a writer whose career had triumphs like the Oscar-winning A Beautiful Mind, but also catastrophes like Batman & Robin. His work on Bad Dreams belongs to the better part of his filmography, showcasing a directorial sensibility that balances tension with character development. He handles the pacing well, allowing the mystery to breathe while keeping the tension high.
The mystery begins with the ominous cold open, then turns into a mystery involving Olivia herself, and finally becomes connected with the general mythology at the end. Goldsman manages to put all of these strands into a single episode without it feeling cluttered. The narrative never feels like it is rushing to a conclusion, allowing the viewer to piece together the connections alongside the characters. This structural coherence is a hallmark of a well-crafted television script.
The episode ends with one of the more memorable and disturbing images—a number of people in a trance-like state lined up and waiting to jump over the ledge. The actual resolution of the crisis, although ingenious in its way, is slightly anti-climactic. The visual of the ledge is haunting, however, and lingers long after the episode has concluded. The tension in that final moment is palpable, even if the resolution is somewhat muted.
The episode, on the other hand, delivers something of a fan service to a certain segment of the mainly male audience, which includes Kelly Britter in underwear exchanging a passionate kiss with Anna Torv here playing a man being psychically connected with a woman. It is a striking visual moment that plays into the show's ability to create unexpected and alluring imagery. The chemistry between the actresses is undeniable, adding another layer of entertainment value to the episode.
The episode ends with another revelation—a VHS tape showing a video recording of a young Olivia during which the audience for the first time can hear the voice of the mysterious William Bell. This revelation is significant as it deepens the mythology and provides a glimpse into the past. Hearing Bell's voice is a treat for fans and adds an element of nostalgia to the proceedings.
It is nevertheless a very good episode that shows a lot of potential of the series. By blending the procedural elements with the mythology, it creates a story that is both entertaining and informative. The performances are strong, the direction is competent, and the story is engaging. Bad Dreams clearly displays the show's ability to evolve and deliver high-quality science fiction drama.
RATING: 7/10 (+++)
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