Fringe
Forced Perspective

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Suture Up Your Future

Peter explains the Observers as best he can, that they show up at significant events throughout history, but they're not so much time travels as beings that exist in all times simultaneously. What Olivia really wants to know, though, is if one of them said something about the future, could they be wrong? Peter says he doesn't see how they could. "They don't predict the future, Olivia. They've already experienced it." Peter finally clues in that maybe Olivia's not asking for the fun of it, and asks if one of them made contact with her. Olivia says no, but Peter knows even this Olivia well enough to be unconvinced.

Olivia's at home, answering a knock at the door, which turns out to be Nina, hoping it's not too late. Olivia invites her in, and Nina says Broyles told her about Emily, and Nina wanted to see if Olivia is all right. The two of them sit down on the couch and then fight about who needs to apologize more for their discussion this afternoon. Nina says what happened to Olivia as a child was unconscionable, and she's come so far that she sometimes forgets how much Olivia has been expected to forgive. As for Olivia, the fact that she thought she was going to die today made her think that Nina wouldn't know how she felt: "You're the closest thing I have to a mother. And I love you," she says. Awww, the "closest thing" to a mother, it kind of gets you right here. Is this because of Nina's arm?

Anyway, Nina smiles and calls her "Olive" and gets all verklempt and then Olivia closes her eyes for a moment, blaming it on migraines. Nina does her very best to look surprised and concerned, and gets up to make her soup. "I'm the closest thing you have to a mother, remember?" Oh, and there's this "remarkable" new drug that Massive Dynamic has been working on that Nina will send over tomorrow. Yes, Olivia won't mind being a guinea pig for an expensive new drug, right?

We end with a shot of an Observer watching Olivia's place from across the street. I know I don't normally bother noting these, but it seems particularly relevant that the commercial-break glyphs spell out "MARCH" this week.

Daniel is a writer in Newfoundland with a wife and a daughter. The end of Monsters, Inc.? Gets him every time. Follow him on Twitter (@DanMacEachern) or email him at danieljdaniel[at]gmail.com.

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Fringe

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