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    The Fringe team deals with more cases that are leading to a "great storm" as the parallel universe appears to be at war with the prime one, engineered by human-machine hybrid shapeshifters from the parallel universe.

    Walter had crossed over on the frozen ice of Reiden Lake in to administer the cure for the alternate version of Peter, but, after accidentally destroying a dose of the cure upon transport, he instead brought the boy across.

    On return, they fell through the ice but were saved by the Observer September Michael Cerveris , who told Walter of the importance of "the boy", which Walter took to mean Peter.

    Walter has been looking for a sign of forgiveness in the form of a white tulip. Season 3 presents episodes that alternate between the two universes.

    Secretary of Defense and has set events in motion to assemble the Machine, a doomsday device that reacts only to Peter's biology. Recovering in the present, Peter alters his plan and uses the Machine to merge the two rooms, creating a bridge where inhabitants of both universes can solve their dilemma, before time is re-written so September The Observer doesn't save him and is forgotten by both Walter and Olivia.

    Season 4 begins in an alternate timeline , one in which September had failed to save the alternate version of Peter in , according to the Observers.

    Peter is pulled into this new timeline due to the actions of the alternate timeline's Fringe team, which includes Lincoln Lee Seth Gabel.

    Peter initially works to return to his own timeline, fueled by fears that his memories are altering Cortexiphan-dosed Olivia's of this timeline, but after encountering a wounded September, Peter comes to learn that this timeline is truly his home, and both he and Olivia come to accept the change, rekindling their affair.

    The Fringe division is forced to close the dimensional bridge, but this fails to stop Bell's plan. Walter is left with one choice, to shoot and kill Olivia, her death disrupting the process and saving the world.

    Olivia's "death" is only temporary, as the Cortexiphan in her body is consumed to repair the bullet wound, leaving her alive and healthy but lacking her psionic abilities.

    As Olivia and Peter begin their lives together, September appears to Walter and warns that the Observers "are coming". The fifth and final season begins in , following from the flash-forward fourth-season episode "Letters of Transit".

    Walter reveals he and September developed a plan to defeat the Observers, revealed through a series of pre-recorded videotapes ambered in the lab.

    The tapes lead to several components of a device, including a young Observer child, named Michael Spencer List in Season 1 and Rowan Longworth in Season 5 , but further allude to a man named Donald that had helped Walter prepare the plan.

    Etta is killed during these events, driving Olivia and Peter to complete the plan for her sake. Through Michael, they discover Donald is September, having been stripped of his Observer powers for helping the Fringe team, and that Michael is his genetic son, having been purposely grown as an anomaly in the far future.

    September explains the plan is to send Michael to the year , where human genetic experiments to sacrifice emotion for intelligence would be started and leading to the creation of the Observers; by showing them Michael, who possesses both emotion and intelligence, the experiments would be stopped and the Observers never created.

    September is prepared to take Michael to the future as the plan is set in motion, but he is shot and killed at the last moment; Walter, already made aware that he will have to make a sacrifice, takes Michael through to the future to assure the plan's completion.

    As predicted, time is reset from the invasion onwards in ; the Observers never invade, and Peter, Olivia, and Etta, live their lives peacefully—though Peter receives one final letter from his father: Much of the story arc for Fringe involves an alternate universe that mostly mirrors the prime universe, but with numerous historical idiosyncrasies.

    A significant example element used is the effect of the September 11 attacks ; though this event also occurred in the alternate universe, the World Trade Center was untouched by the attacks, leaving the buildings as predominant landmarks in the alternate world's skyline of "Manhatan".

    The South Tower was used as the office of William Bell in several episodes. The producers were strongly interested in " world building ," and the alternate universe allowed them to create a very similar world with a large amount of detail to fill in the texture of the world.

    An alternate universe also allowed them to show "how small choices that you make define you as a person and can change your life in large ways down the line," according to co-director Jeff Pinkner.

    To avoid this, elements of the world were introduced in small pieces over the course of the first two seasons before the larger revelation in the second-season finale and the third season.

    Wyman stated that he would often pass the story ideas for the alternate universe by his father to see if it made sense, and would rework the script if his father found it confusing.

    Prior to commercial breaks, a brief image of a glyph is shown. Abrams revealed in an interview that the glyphs had a hidden meaning.

    In " Jacksonville ", behind Walter as he speaks to Olivia about her treatment where the nootropic Cortexiphan was first studied as a trial, each of the glyphs is clearly visible on the daycare wall.

    An episode-by-episode key to the various glyphs was made available on Fringepedia. The show's standard opening sequence interplays images of the glyph symbols alongside words representing fringe science topics, such as "teleportation" and "dark matter".

    Within the third season, with episodes that took place primarily in the parallel universe, a new set of titles was used, following a similar format, though tinted red instead of blue and using alternate fringe science concepts like "hypnosis" and "neuroscience".

    The difference in color has led some fans to call the prime universe the Blue one in contrast to the parallel Red one. Television , as part of a commitment that Abrams previously made with the studio.

    Though the team saw this as a way of presenting "mystery of the week"-type episodes, they wanted to focus more on how these stories were told in unpredictable ways rather than the actual mystery, recognizing that most of their target audience has seen such mysteries before through previous shows and films.

    This gave them the ability to write self-contained episodes that still contained elements related to the overall mythos.

    One method was by introducing overarching themes that individual episodes could be tied to, such as "The Pattern" in Season 1, providing information repeatedly about the larger plot over the course of several episodes or seasons.

    Abrams contrasted this to the process used in Lost , where ideas like character flashbacks and the hatch from the second season were introduced haphazardly and made difficulties in defining when they should be presented to the viewers.

    Instead, with Fringe , they were able to create "clearly defined goalposts" in Itzkoff's words that could be altered as necessary with network and seasonal changes but always provided a clear target for the overarching plot.

    Abrams stated that "There are certain details that are hugely important that I believe, if shared, will destroy any chance of actually getting on the air.

    We see it as having certain chapters that would enrich the overall story, but aren't necessary to tell the overall story.

    God willing, the network allows us the time to tell our complete story. As part of the larger story, the writers have placed elements in earlier episodes that are referenced in episodes seasons later.

    For example, in the first-season episode " The Ghost Network ", the Fringe team encounters an amber-like substance, which is later shown to be a critical means to combat the breakdown of the parallel universe and eventually for the same in the prime universe with the third-season episode " 6B ".

    He further attributed these elements as part of the "world building" to flesh out the show beyond episodic content. Certain elements of the show's mythology were established from the start.

    The parallel universe was always part of the original concept, though aspects of when and how to introduce it were tackled as the show proceeded.

    Other mythos elements were devised as the series progressed. The writers had originally envisioned only spending small portions of episodes within the parallel universe, but as they wrote these episodes within Season 3, they brought out the idea of setting entire episodes within the parallel universe.

    After developing the core concepts of the show, Abrams began to seek studios to develop the show; Abrams' past successes led to Warner Bros.

    Television and the Fox Television Network to quickly jump on board the project. Peter Roth , the chief executive of Warner Bros. Television, had been actively seeking to bring any Abrams' project to his studio, and heard Abrams' pitch for Fringe at a dinner meeting in August Jeff Pinkner was selected to act as the head showrunner and executive producer.

    Abrams noted that he trusts Pinkner after working together with him on Alias and Lost. Abrams pitched the idea to Pinkner, who was intrigued by the importance of characters in a science fiction drama.

    Wyman was brought on as executive producer and showrunner with Pinkner. Wyman had been a science fiction enthusiast but had worried that he had not written anything in that genre but after learning about the concept of the show, felt his role as an executive producer was "a match made in heaven".

    Michael Giacchino , Abrams' frequent collaborator, composed the music for the pilot of Fringe , before handing over duties to his assistants Chad Seiter and Chris Tilton ; Tilton took over scoring duties from Season 2 onward.

    On February 21, , it was reported that in the event that Fringe would be renewed for a second season, the show would move production to Vancouver from New York City as a cost-cutting measure.

    We want to stay in New York, New York has been incredibly good to us. It feels like we're being kicked out of the city.

    I know we're not, but they're making it impossible for us to afford doing the show Our New York crew is spectacular, they've worked their [butts] off to make the show look great.

    But it looks like New York is not renewing a tax credit that makes it possible to make our budget in New York. So it looks like, out of necessity, we'll have to leave New York, which is not anything we are welcoming.

    As plans were being made to move the production to Canada, the New York state legislature passed continuation of the film and tax credits, as planned.

    Prior to the start of production for the fifth season, Pinkner announced that he was leaving the production of the show to pursue other projects; Wyman would remain as the sole showrunner for the show.

    The show's main characters, Olivia, Peter, and Walter, were core of the concept for Fringe. The creators recognized early that "the idea that telling a father-son story and a relationship story was a really compelling one and a very accessible one", according to Kurtzman.

    The characters would also contrast with the typical procedural genre show; rather than having clearly defined roles episode to episode, they instead "have an emotional memory and an emotional investment", as stated by Orci.

    Kirk in Abrams' Star Trek and believed this is what impressed the producer to cast him in his television project, [63] though Abrams later clarified that it was recalling his previous experience with working with Jackson on his television series Felicity.

    William Bell in the first season's finale, which explores the existence of an ominous parallel universe. This choice led one reviewer to question if Fringe ' s plot might be a homage to the Star Trek episode " Mirror, Mirror ", which explored the concept of an alternate reality referred to as a " mirror universe ", and an evil version of Spock distinguished by a goatee.

    Bell for an extended arc, and according to Orci, Bell is "the beginning of the answers to even bigger questions.

    As he had retired from acting, it was thought unlikely that his character would return. Early reception through the first season was generally lukewarm, with many noting it's "lackluster" start and the "dullness" of the characters.

    However, changes in the approach and storytelling of the show in the second and subsequent seasons led to more positive critical reception and made it a media favorite.

    As a whole, the series was well received by the critics and has developed a cult following. The pilot episode was watched by 9. Club writer Joshua Alston noted that the similarities to The X-Files , including the "monster of the week" approach and tepid romance between two of the series' lead characters, as well as the relatively recent release of The X-Files: I Want to Believe , had turned audiences off the show since "it was retreading what The X-Files had already done.

    In its Year in Review , Television Without Pity declared Fringe one of the year's biggest TV disappointments, commenting that the show is "entertaining" and "the cast is largely strong" but the character development is insufficient, and describing main character Olivia Dunham as "wooden and distant.

    The author goes on to praise the cast saying that "Much credit belongs to Anna Torv who stars as an F.

    Torv is backed up ably by John Noble as a crazy but brilliant fringe scientist and his level-headed but skeptical son, played by Joshua Jackson".

    Seasons of Fringe after the first season were seen as vast improvements on the first. Chicago Tribune stated that some episodes are "distressingly predictable and formulaic" but adds that there have also been some excellent episodes.

    Club named Fringe the 15th best show of , stated that the episode "Peter" gave "the series' overarching storyline a devastating emotional core", making the series a "rare blend of inventive ideas, wild ambition, and unexpected soulfulness".

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