Television Review: Inner Child (Fringe, S1x15, 2009)
Inner Child (S01E15)
Airdate: 17 February 2009
Written by: Brad Caleb Kane & Julia Cho
Directed by: Frederick E.O. Toye
Running Time: 50 minutes
It takes a substantial degree of creative effort for a single episode of Fringe to truly stand out against the backdrop of a series that is otherwise consistently visually impressive. While the show is generally acclaimed for its distinct aesthetic and scientific whimsy, it is often a delicate balance that prevents it from achieving true 'classic' status. However, even within a show of this calibre, there are elements that undermine its potential greatness. A prime example can be found in a single, unfortunate cliché that, for all its narrative utility, deprives Season 1’s episode Inner Child of being a classic.
Like many entries in the first season, the episode opens with a remarkably impressive cold open that immediately captures the viewer's attention with its high production values. For a refreshing change, this particular sequence does not involve the usual gruesome death or the unveiling of some horrific anomaly. On the contrary, the event in question is presented as a moment of victory. A demolition team is preparing to bring down a dilapidated building, but shortly before the scheduled explosion, they make a startling discovery. They find a sealed section of the structure that does not appear on the blueprints. It turns out to be a secret hiding place, isolated from the world for decades, within which lies a young boy (Spencer List). He is bald, strangely silent, and appears utterly bewildered by the modern world.
The boy, who remains completely mute, is subsequently transported to a children’s hospital. The bizarre details of his discovery—the sealed section of the building and the sheer length of time he has been hidden—provide more than enough justification for Fringe Division to become involved. Walter Bishop believes that the boy must have been feral, surviving on his own in complete isolation from society, likely feeding on rats and exhibiting primal instincts. Despite his profound inability to communicate through words, the boy forms a tentative and touching bond with Olivia Dunham.
In the meantime, the Boston area is struck by the return of a vicious serial killer known colloquially as "the Artist" (Jeremy Schamos). He has a disturbing modus operandi; he tricks women into his van, kills them, and then dresses their corpses up as exhibits in what he calls his "exhibition." This case carries significant emotional weight for Olivia, given that before she joined Fringe Division, she was personally investigating the Artist's murders alongside her partner, Charles Francis. It is a personal vendetta that drives much of her motivation, making the resolution of this case feel particularly urgent.
The plot begins to intertwine when the boy suddenly writes the name of one of the victims. Fringe Division realises that he possesses some kind of empathic link to the crimes. Walter later theorises that the boy is an empath who has developed these abilities due to a lack of traditional communication. Following a series of investigations that yield few results, Olivia and her colleagues manage to locate the killer and his van. In the ensuing confrontation, they manage to rescue one of his victims, while the Artist is ultimately stabbed to death with his own knife during a struggle with Olivia. While the resolution is effective, the narrative steps rely heavily on the boy's abilities to feel earned.
The narrative takes a turn into government intrigue when the boy is claimed by Eliot Michaels (Erik Palladino=, a social worker. However, it is soon revealed that Michaels is actually a CIA agent involved in a top-secret research program who intends to use the boy for experiments. Broyles, recognising Michaels' superior security clearance, initially agrees to hand the boy over. However, he manages to negotiate a compromise, persuading Michaels to allow the boy to stay and assist with the investigation. Yet, recognising the potential danger for the boy’s wellbeing, Fringe Division subsequently arranges for a pediatrician, Dr. Winnick (Sandra Daley), to discreetly take the boy to a foster family, effectively whisking him away from the reach of the government.
There are, without a doubt, plenty of elements to admire in Inner Child. The most compelling aspect is the character of the Child himself. Although he begins by looking grotesque and perhaps even menacingly at the audience, he skillfully manages to win the sympathy of both the characters and the viewers. Spencer List delivers a nuanced performance that conveys emotion without words, anchoring the episode. His background remains a tantalising mystery, a choice that screenwriters should be commended for; a single episode is rarely sufficient to unravel such a complex origin story. The episode concludes with a single, enigmatic hint when an Observer notices the Child, suggesting a deeper connection between the two beings.
The episode also benefits significantly from Michael Giacchino's musical score. His composition is notably more emotional and recognisable than in previous episodes, elevating the tension and the sentimental beats to new heights. The score complements the visuals perfectly, adding a layer of depth that often goes unnoticed in standard procedural dramas.
Conversely, the negative aspects of the episode stem from a slight overcooking of the plot. It introduces a storyline involving what is, even by today's standards, the most annoying crime procedural cliché: the serial killer. This time, the killer conveniently pops up just as the Child did, and even more conveniently, happens to be someone Olivia investigated in the past. This narrative choice makes his capture appear more personal for the protagonist, yet it feels like a lazy writing shortcut rather than organic storytelling. It creates a sense of contrivance that distracts from the central mystery.
Furthermore, the jurisdictional issues related to Fringe Division having a rival in the form of a CIA secret unit also seem somewhat all-too-convenient. These plot devices feel forced and detract slightly from the central anomaly, serving only to complicate the narrative without adding substantial depth. It is a classic trope of TV writing that feels slightly out of place in a series that strives for scientific realism.
Nevertheless, despite these structural flaws, Inner Child is a solid episode of television that merits a recommendation. It successfully balances the show's unique blend of scientific mystery with emotional character development, even if it occasionally stumbles over its own procedural tropes. For fans of the series, it offers a compelling look at the psychological underpinnings of the show's world, even if it is not entirely perfect.
RATING: 6/10 (++)
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