Arrival (S01E04)
Airdate: 30 September 2008
Written by: J. J. Abrams & Jeff Pinkner
Directed by: Paul Edwards
Running Time: 49 minutes
One of the most enduring hallmarks of J.J. Abrams’ creative output, and specifically the universe of Fringe, has been the creation of an opening sequence that functions almost as a short film in its own right. The creators of Fringe have long been recognised as masters of the cold open, often crafting scenes that transcend the format, becoming the most memorable segments of the episode and serving as the primary hook that anchors the audience to the remainder of the story. While the main plot might initially appear to be a procedural investigation into the mundane, these openings frequently introduce high-concept sci-fi elements, iconic characters, and "mystery boxes" that ripple outwards, demanding the viewer's attention. This dynamic is particularly evident in the fourth episode, Arrival, which features one of the most effective cold opens in the series' early catalogue. It also introduces a new iconic character while opening a fresh, albeit related, mystery box that drives the narrative forward.
The episode’s opening scene is set in a Brooklyn diner, a setting that feels inherently grounded and ordinary. However, this atmosphere is instantly subverted by the introduction of a strange looking patron—a bald man with no eyebrows, played by Michael Cerveris. Despite his bizarre physical appearance, he is immaculately dressed, which adds a layer of artificiality to his presence. He catches the attention of the staff not just with his look, but with his peculiar order and eating habits. More intriguingly, he utilises what appears to be some strange, high-tech equipment to monitor a nearby building site, making detailed notes on the construction activity. The tension culminates in a moment of seismic activity; the ground begins to shake, and a crane descends with a violent crash. After the chaos erupts, the bald man utters the line, "It has arrived." This moment establishes the episode's tone perfectly: a blend of the quotidian and the bizarre, setting the stage for a narrative that privileges the supernatural over the realistic.
Once the credits roll, the story proper begins when Agent Broyles summons the Fringe Division to explain the disaster in Brooklyn. He reveals that the catastrophe was apparently caused by a mysterious metal cylinder that somehow managed to arrive from the ground up. The cylinder is subsequently held in a federal storage facility, but Walter insists that it must be brought to his lab immediately. As this happens, Peter expresses to Olivia that he is becoming increasingly tired of having to babysit his father and would actually like to leave Fringe Division. This character beat adds a layer of realistic fatigue to Peter, grounding the sci-fi elements in the personal struggles of the characters.
While the purpose, origin, and composition of the cylinder remain shrouded in mystery, the incident strikes disturbing resemblances to an event that took place in 1987 at Quantico. This case was investigated by Colonel Henry Jacobson (Nestor Serrano), who is established as an old family friend of Olivia. During the interrogation, Jacobson is visibly uncomfortable, sensing the weight of what he is seeing or remembering. He advises Olivia to drop the investigation, describing how the cylinder in his case literally vanished before their eyes, leaving only questions in its wake.
Meanwhile, amidst the technical data and flashbacks, Olivia is looking at security footage where she notices the strange bald man from the diner. She recognises him as a person who was present during previous Pattern incidents she was investigating. She begins to refer to him as "the Observer," a name that would prove to be iconic for the series. It is worth noting that the episode benefits from a technique often applied in the previous episodes; the Observer had actually appeared in the background of earlier episodes, a fact that would have been missed by all but the most pedantic viewers. However, the episode utilises this background presence well, allowing the audience to slowly piece together the identity of this enigmatic figure.
The stakes are raised significantly when the storage facility where the cylinder is being held is attacked by a mysterious man (Michael Kelly). He wipes out the security and staff using a strange energy-based weapon, indicating a high level of technological sophistication and hostility. His apparent objective is to find the cylinder, which has, in the meantime, ended up in Walter’s laboratory. The same killer later attacks and tortures Colonel Jacobson for information regarding the cylinder’s whereabouts, before ultimately killing him. This sequence introduces a new antagonist who is ruthless and efficient, raising the stakes from a scientific mystery to a violent conspiracy.
In the aftermath of these attacks, Walter takes a bizarre and drastic action to protect his team. He takes a syringe filled with a sedative and injects Astrid Farnsworth, who faints immediately. He then disappears with the cylinder, effectively stealing it from the lab. He is later caught by the police and explains that he has done so in order to hide the cylinder and protect Astrid, Peter, and Olivia. His concerns are quite valid, as an attacker abducts and tortures Peter in an attempt to discover the cylinder’s hiding place. Peter does not know where it is, but the attacker figures out that Walter has hidden it in his father’s grave at the cemetery. The attacker brings Peter there and orders him to dig.
Peter is only saved when Olivia arrives and shoots the attacker dead. Peter is set free, but he sees the Observer and tries to stop him, only to realise that the Observer can read his thoughts. The Observer reports to his mysterious handlers that "departure is on schedule" and stuns Peter with a device. After Peter wakes up, his father explains that the Observer had saved both his and Peter's life many years ago. Broyles informs Olivia that the cylinder has vanished and will probably never be found, while the killer is identified as "John Mosley," a contract killer from Seattle. Peter later tells Olivia that he needs answers of why and what happened, and that he would remain within Fringe Division, being given the status of a special consultant to DHS.
Arrival in many ways showcases what was Fringe’s main problem in its early stages: a frenetic pace that tries to stuff as many important revelations, plot twists, and action scenes into a single episode as possible. This technique often results in the audience ignoring or not paying sufficient attention to some details that would have not missed if the pace was more subdued. The difference is palpable between the opening scene, which slowly builds suspense and shows the bizarre rituals of the Observers, and the rest of the episode where even the character played by the menacing Michael Kelly appears very little. The same goes for Colonel Jacobson, who is supposed to be someone close to Olivia, but here is reduced to a "redshirt"—a character introduced solely to die and provide information before the plot moves on. The episode maintains stuffing content to the very end, when another major plot twist appears in the form of John Scott, who apparently rises from the dead or is somehow brought to life in order to appear in front of Olivia, delivering another head-scratching cliffhanger that propels the series into its next phase.
On the other hand, the episode benefits from the same technique being applied in previous episodes regarding the Observer. By having him appear early on as a background character, the episode nevertheless utilises him well—both the iconic look and the acting ability of Michael Cerveris make the audience begin scratching their heads about his background, origin, and ultimate agenda. "Arrival" also has an interesting scene that confirms Walter’s humanity in a bizarre way. He comes to Agent Farnsworth to apologise for his conduct and even offers retribution for his actions during the crisis. This moment provides a respite from the chaos, anchoring Walter's character as someone who, despite his madness, possesses a deep capacity for care.
While Arrival is a landmark episode that successfully introduces the Observer and raises the stakes significantly, its execution is marred by an overwhelming need to cram too much into a single runtime. The contrast between the atmospheric cold open and the chaotic middle is stark, often leaving character development by the wayside. However, the character of the Observer and the mysteries he introduces ensure that the episode remains a compelling watch, even as the pacing threatens to overwhelm the narrative cohesion.
RATING: 6/10 (++)
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