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By Suzanne

 Jeff Pinkner and J. H. Wyman

Interview with Jeff Pinkner and J. H. Wyman of "Fringe" on FOX 9/17/10

FBC PUBLICITY: Fringe Conference Call September 17, 2010/2:00 p.m. EDT

SPEAKERS
Marissa Flores – FBC Publicity
Jeff Pinkner – Executive Producer, Fringe
J. H. Wyman – Executive Producer, Fringe

PRESENTATION

Moderator Welcome to the Fringe Conference call. At this time, all participants are in a listen-only mode. Later, we will conduct a question and answer session. Instructions will be given at that time. As a reminder, this conference is being recorded.  I would now like to turn the conference over to your host, Marissa Flores.

M. Flores Hi, everyone. Thank you so much for joining us today on the Fringe Conference call with Executive Producers Jeff Pinkner and J. H. Wyman, who are on the line now. As a reminder, Fringe returns for its third season on Thursday September 23rd at 9:00/8:00 Central. Without any further delay, please welcome Jeff Pinkner and J. H. Wyman. The forum is now open for questions.

Moderator Your first question comes from the line of Joshua Maloni from Niagara Frontier.

J. Maloni I wonder if you guys could give us a little bit more explanation on something that I read you say in another interview. The episodes, they’re going to alternate from one week it will be over here and another week it will be over there. Is that true?

J. Pinkner It is true. So what we’re really excited about certainly as this season gets underway and for awhile is we have left our heroine on the other side, what we refer to as over there, the alternate universe. Our universe being over here. We thought that the best way to really thoroughly tell these stories was to dive into them wholeheartedly. So an entire episode will take place over there with the alternate Fringe team and then another episode will take place over here. Rather than trying to tell an episode that takes place in both universes simultaneously within the same episode, we really wanted to thoroughly explore a Fringe case over there and the journey that our heroine is on and then come back over here because the character that we refer to as Bolivia, or short for Bad Olivia, is here embedded in our team we have point of view characters in both universes and it seemed to us the perfect opportunity to really explore in a really thorough fulsome way the alternate universe.

J. H. Wyman Yes, we just loved the idea and it became apparent to us that we felt that the fans would really appreciate a mythology in two places. That sort of gave us the ability to have two shows about one show which you never get the chance to do that on television. It just presented itself in such a natural organic way to evolution in our storytelling. Once we got in there we realized that’s great we can have a fantastic compelling mythology over there and get people invested in that universe with someone at the heart of it that they absolutely identify with and care about and then actually come back over on this side and have the mythology carrying out here. So we’re really excited to see what fans say about that because we believe in it 100% and we think it’ll be a really great journey.

J. Pinkner One of the challenges that we’ve had, the idea of an alternate universe is both heavy and intellectual but as soon as you start to experience it you realize that it’s really emotional and easy to grasp and the way that we realize is that season one sort of acknowledged an alternate universe. Season two we visited it. Season three we really want to spend time there and get to know what the conditions are like over there which really just reflects on our own society and what life could be like here in our own world for real had certain things just gone differently.

J. Maloni You guys have also said that, obviously Olivia’s going to be over there for a good portion of the season. Obviously Olivia, and Bolivia as you call her, they’re obviously both out of place. They’re going to be working with different team members for several episodes. What sort of dynamic can we expect between all of these characters?

J. Pinkner Last season was about secrets. This season we’re really going towards the concepts of duality, the concepts of choice, the concepts of who are we as people. What happens when you make a different choice, those consequences?

So as a blanket theme I think self actualization for our characters this year is really where we wanted to go and when you start to look at two versions of the same person you can really get into some very profound questions and areas that are interesting because you’re going to see someone who is not Olivia dealing with Walter. Somebody who is Olivia dealing with alternate Broyles so you’re going to start to be able to see different aspects of people’s personalities and how they are. I mean, there’s obviously that great tension when it’s the quintessential spy on a mission kind of concept but we get to do in a way that fortunate for us I think fascinating because it’s the same person.

J. H. Wyman Not to mention we have one of the most unique potential love triangles in that its one guy with two different versions of the same girl.

Moderator Your next question comes from the line of Troy Rogers from The DeadBolt.com.

T. Rogers What can you tell us about William Bell this season because it sounds a little final for him in the box episode there?

J. Pinkner Well, William Bell has died on the other side. We like to say on Fringe that nothing is final that we took a lot of understandable heat at the beginning of last season when Charlie 1.0, when Charlie from our universe died and Kirk Acevedo who had been a very important part of the show was killed off we took a lot of heat and we said, quite sincerely, without trying to spoil our show and where we’re going, we have a show with two universes and without trying to spoil where we’re going, Leonard Nimoy has retired from acting. If Leonard chooses to come back there is a story in place that we would love to tell but in his absence William Bell is a big part of this world and in the world of Fringe science death is not the end.

J. H. Wyman Right. I definitely think it’s fair to say that you have not experienced the last of William Bell.

T. Rogers Now getting to the alternate universe time travel kind of thing, for shows or films dealing with that it can get complicated very fast. Did you guys split the episodes that way to keep track of everything or was it just for story?

J. H. Wyman That’s an interesting question because obviously you don’t want to confuse anybody and it just became so apparent that that was the best way to lay out the story that we wanted to tell. That we think that you’re really short rifting some really compelling moments if you’re cutting back and forth in one episode and you’re going over there for two scenes and you’re over here for two scenes. It really sort of was a like I said an evolution in our storytelling, a natural progression, where we went to, “Hey, you know what? This is really cool. We have so much to say about over there and the people in it and we have so much to say about the people here so how do we do this?”

So of course, then the concept of, “Hey, we’re going to have the red credit sequence and the blue credit sequence and we’re going to actually devise a way of telling two shows about one show for a certain amount of time in order to let our fans really experience over there as its own piece because the reaction that we got, that we received from our fans is more like, “We love the alternate universe and we really—” You know what, they like the weird things like the amber and the zeppelins and like over here this happened. So we’re just sort of doling out these little packages of information over there in a way that Jeff and I both felt was palatable to somebody that would want to follow the story and actually invest in it and let their imagination get away with them without worrying about tracking of it the “Where am I now? What’s going on?” So it sort of just, it just sort of was a natural decision. We knew it was right, right away for us to tell more deeper, more profound stories without confusing anyone.

J. Pinkner We sincerely hold ourselves up very strictly to the confusion barometer. To us, our show is very much like a family drama masquerading as a science fiction show or as a procedural show and family drama, the theme of the story we’re telling, we want it to play against the big backdrop. We want it to be a story that a broader audience can understand and appreciate because we think the things that we’re talking about are universal and have great appeal.

We’re not trying to tell a genre show that’s a cult hit like as much as like, yes, nothing would be greater than to have people passionate about our show, which is incredibly important to us. It’s something we’ve said before is not everybody likes licorice, but the people who like licorice really like licorice and we’re thrilled to be licorice. At the same time we honestly and sincerely show these stories to our parents and we say, “Can you guys follow this?” When they go, “Yes, totally,” we know we’ve hit it because we want to be a show that should want—

J. H. Wyman Accessible.

J. Pinkner We want to be accessible. Should people want to come we really want it to be welcoming and the way we figured to do that was to tell episodes over there. The concept, as soon as you see it, is really not that hard to grasp at all. There’s so many metaphors that apply or analogies that everybody understands. There’s like, “Oh, there’s the dream life and the waking life.” There’s daytime and nighttime. It’s the idea of two worlds, we didn’t invent it.

J. H. Wyman It’s not hard to get but it the more, to Jeff’s point, the more accessible the show is the better it is and we realize early on that the more science fiction in our opinion becomes good is when they become more about universal truths and things about morality and what’s its like to be a human and live here. The red licorice analogy is interesting because sometimes it takes a certain type of person to really say, “Hey, I like Sci-Fi.” We’re hoping that we get all those people because we love those people but we want to get those people that say the show is Sci-Fi when its aspirational to be Sci-Fi at its best where there’s real stories that are identifiable for people living here now.

Moderator Your next question comes from the line of Henry Hanks from CNN.com.

H. Hanks This being a family drama, like you said, I guess we’ll be seeing a bit more of Peter and Walter obviously had a big problems at the beginning of last season and now they’re back working together. Can you talk more about what we can expect with those two?

J. Pinkner Well, basically, John Noble—last year what he did with that character it always left us sort of like breathless because he really transcended everything that we had written and he became so heartbreaking as a character and that relationship people really did invest in Henry. That’s a blessing and a curse at the same time because what happens is that played itself out in a way that we are very happy with—the breakup of Peter and Walter. So what becomes a challenge is how to get John and Josh to play something that we haven’t seen before and that got us thinking and that made us like, “Okay, how is this going to begin to resolve?” I say begin because it’s like if we really try to look at the relationship like a real relationship and when things break down in a relationship they’re not easily put back together. People have very strange feelings when they’re trying to reconcile. There are trespasses that each other, perceived and real. There’s so many difficult muddy, ugly things in a true father/son complex relationship that once we sort of started looking at that portion of our program realistically we realized we had a lot to play. We realized that we could give John and Josh something to really chew on this year that’s different from last year but just another shade.

So what’s going to happen is like they’re going to be okay and then they’re not going to be okay. Then things are going to be solved for a minute and then further complications are going to up. Because the lie that was perpetrated against Peter and what Walter has done, if you take it for face value and you really look at it, it’s the quintessential kidnapping story. There’s feelings there.

So this season I don’t know if heard but we did say that the journey of self actualization for all these characters, this is a big part of it, this relationship and these people are going to come into their own. Peter is going to sort of demonstrate things apart—emancipated—from his father for a certain amount of time but definitely emancipated emotionally and he’s going to self actualize and figure out where he plays into who he is and who he thought he was and all these things.

Walter, by the same token, will do the same. He will get to the point where he realizes that he has to go through insanity to sort of get to the place he needs to be okay. So we can promise there’s going to be some really nice drama between them and a next, I guess, our impression of a real relationship and how those conflicts play out.

H. Hanks You guys have a lot of fun with the alternate universe sort of changing up the theme titles and having Olivia meet Bolivia face-to-face. Any fun stuff you have coming up like that: people meeting up and playing around with the format of the show and stuff like that?

J. Pinkner Yes, absolutely. One of the things that we love about the alternate universe is it’s really an opportunity to sort of world build specifically. We spend a lot of time and attention and what’s really been so wonderful to us the level of attention and detail that all of our departments in Vancouver and all of the writers and all of the actors weigh in. Like everybody, the idea of what would our daily life be like? What would our universe be like? What would our world be like if certain decisions had just been made differently? One of the obvious, the most obvious one being if the White House had been hit instead of the Twin Towers? If, as intentionally intended if the Empire State Building was a docking station for zeppelins and the Hindenburg had never exploded and people traveled via zeppelin what would consequences flow from these things?

If our universe had started to breakdown—now we’re getting more global—if our universe was starting to breakdown and the Bermuda Triangle was actually in the middle of New York Harbor and boats got sucked into vortex’s meaning our— The analogy for us is, if our world, if we we’re living in World War II like conditions all the time, what we looked at is that sort of tough times forge more noble, stronger people. So what would that universe be like?

So we, everybody’s sort of taken up the charge and those episodes that take place over there, the level of attention and detail shocks and delights even us. That our set designers and set dressers and art department get into.

Now of course, from a character standpoint, we get to really spend time with a different version of Broyles. One who is still married and the consequences and how he’s different as a person. We get to really experience what Bolivia’s life is like. Our Olivia was essentially abused as a child. She was given these experiments which changed her worldview. Bolivia, that never happened to. Charlie on the other side is still alive and has a different life.

So for our characters and for us, as storytellers, exploring these characters by which hopefully people in the audience will on some level think like, “Oh, what if I instead of breaking up with that guy back in college I had married him? What would my life be like right now?” It seems to us like Facebook is so much an opportunity for people to explore the choices they made and reconnect with people from their past and imagine how their life would be different or “What happened to this person?” It’s such a subconscious theme in our world these days that we get to play it actively through our show.

J. H. Wyman Part of your question I think is that we’re, definitely, we can say that members of our team will be aware of doppelgangers of themselves on the other side. So it’s not just going to be Olivia and Bolivia but you’re going to understand throughout the season and that’s going to be neat because that’s also as Jeff said, there’s something that we want to investigate. Imagine seeing a version of yourself that’s just a little better. That could be depressing.

Moderator Your next question comes from the line of Alice Chapman-Newgen from Times Courier. Please go ahead.

A. Chapman-Newgen Will Olivia form any new relationships on the other side as she’s trying to work out her situation there? Also, does Bolivia begin to see things a little differently on this side of the alternate universe?

J. Pinkner That’s very astute. So taking them one at a time, well, taking them in reverse order, Bolivia very clearly in the season finale, Bolivia is charged with the notion that people from our side have invaded their world, have damaged their world and we are the enemy and Walter’s lying which is metaphorical is that they’re monsters in human skin. He doesn’t mean it literally; he means they’re the enemy. They’re the ones attacking us and making our lives …. She’s now going spend time living with our characters, living with Walter, living with Peter, living with Broyles and just exploring our world and of course its going to affect her worldview. Of course. That’s one of the things that we’re really interested in. At the same time she’s an agent with a mission and she’s very loyal and dedicated to the life she’s living and to the people she works for.

J. H. Wyman Therein lies the conflict.

J. Pinkner Therein exactly lies the conflict. On the other hand we love these characters that we’ve got to meet on the other side. Lincoln Lee, played by Seth Gabel is just delightful. We’re so thrilled to have Kirk Acevedo back. Lance Reddick is really playing two versions of Broyle and we had a conversation with him yesterday and it was odd because it really felt like we were talking about a character and not about a performer playing two different characters. It’s a unique situation where we have actors creating different characterizations of characters that they’ve already created.

Walternate is so different from Walter but so understandable. His son was taken. It changed his worldview and it’s very much, but we get to see from the backend of the telescope how life events changed these characters. So Olivia will absolutely spend time interacting with all of them and that’s going to change her worldview as well.

Moderator Your next question comes from the line of Marisa Roffman from GiveMeMyRemote.com.

M. Roffman It seems like Peter is, besides struggling with his relationship with Walter, he’s also struggling with the fact that this doomsday device is reacting to him. How much is that going to play into where his character goes this season?

J. H. Wyman It’s going to play a lot. Look, that’s a major thing. Last year, if you look at it again, it’s the season of secrets, it’s sort of like subjectively Peter did not understand the secret. Everybody else knew and he didn’t know. So he’s sort of like this huge revelation at the end of the season that gave us a lot of gasoline for the season for him. But now, that’s different.

So now this season when he comes in he is now the person who knows more than anybody and wants more than anything to find out how does he fit into this. Why him? What does this mean? Why did this thing? So these questions become really ultimately his core want is to figure out some form of answers that nobody on his team actually is qualified to answer. That’s going to be a big part of his self actualization. There’s a lot of answers that we think are compelling and mysterious and interesting this season that he’s going to start to put together a really nice sized jigsaw puzzle that will be eventful at the end of the season.

J. Pinkner One of the things that we’re really trying to attend to and that we both learned from experience as viewers and as storytellers is that Magoffins, like the weapon, are only as important as how it affects the characters and how it drives them and changes their emotions. The other thing that we have found that works for us really well is ask questions but then give answers and then play the consequences of those answers.

J. H. Wyman We don’t want to frustrate anybody.

J. Pinkner So very much the doomsday machine, we will explore it, we will learn more about it and what Joel was clearly saying is what we’re really interested in is how that’s going to affect Peter as a person.

M. Roffman Yes, it almost seems like Peter is doomed to be tragically unhappy for the rest of his life because first he finds out about Walter. Now he’s got the whole Olivia thing going on and he’s putting his trust in who he thinks Olivia is and then he’s going to get that wool pulled out from him. Is he ever going to have happiness?

J. H. Wyman Well, you have to go through darkness to get to light so that’s his journey right now. Just keep in mind when he first showed up on the team, this was a guy who was sort of rudderless and had absolutely no concept of who he was. He was a conman with very many personas and didn’t really commit to anything and didn’t really have substantial relationships in life that he could connect with. So if anything, I guess one could argue that he’s found a family, sometimes that he doesn’t want, but he’s found and has become a more dimensionalized human being.

So in that journey, it’s like real life. Sometimes dark, terrible things happen and you have to move through them. They don’t go away very quickly. They actually form who you are once you pass through the other side. It’s a difficult journey, but once you get through the other side you come out at least stronger and more enlightened.

So it’s like, yes, I think he’s going to find— I love a character, and I know that Jeff does too, that basically is trying to do the right thing but is having setbacks on an emotional level or on an intellectual level. He’s confused, but he’s trying to be a good person. He’s trying to do the right thing. He’s trying to get answers and trying to find happiness which we think everybody is today. Everybody goes through that so he’s sort of like this walking metaphor for us of people like, yes, every time you think you’ve got something great something comes around the corner and it can set you off balance and you have to deal with it. So that’s how we see him. I think that he’ll find happiness in increments and where they really count.

Moderator Your next question comes from the line of Charlie Anders from IO9.

C. Anders In an interview a while ago, Lance Reddick said that the show was moving away from the procedural elements and I’m wondering if that’s actually true, if there’s going to be less monster-of-the-week stuff? Second of all, Walter, obviously, gets a huge surprise at the end of the second episode. I’m wondering without getting too spoilery, he gets a lot more responsibility and I’m wondering how that’s going to affect his character going forward.

J. Pinkner So to answer your first question, everybody defines procedural differently. There will absolutely be a story in each episode with a beginning, middle and end. There will be cases. Our team is charged with solving cases, which we love, those stories reflect on the themes that the characters are going through.

So I don’t know, I’m not sure what Lance meant by that, but we’re not suddenly changing the storytelling of the show. It’s expanded and now we have two universes and all the things we’ve talked about but we’re going to be exploring cases on this side and that side.

To your second, Walter is Walter. Walter has been damaged. Walter is still just as interested in exploring as he ever was and we can be spoilery for this phone call. Walter—

J. H. Wyman Some people haven’t seen the—

J. Pinkner If you haven’t seen the episode—

J. H. Wyman Don’t—

J. Pinkner I’m trying to answer your question without answering, without using certain nouns. But Walter will absolutely—

J. H. Wyman …responsibility.

J. Pinkner Walter’s plate around has gotten much, much, much, much bigger plus it’s an opportunity for Walter. One of the themes that we constantly go back to is Walter has missed 17 years of his life. Rip Van Winkle is very much a theme that we go back to. Peter has been robbed from his life. Olivia has a child, part of her life was taken away and changed. Walter missed 17 years of his life during which his partner and best friend, the Lennon to his McCartney, was continuing to explore things that they had talked about and now Walter has the means of discovering and exploring what those things were.

J. H. Wyman Yes, because of the monster-of-the-week versus the mythology, we realize there was this sense of frustration from our core viewers and our big fans that say come on we want to see the mythology. But of course we were put up against as responsible film makers and understanding that we have partners in Warner Brothers and in FOX, it’s very important to kind of constantly try to attract more viewers and to try and not make the show alienating that if you haven’t watched season one and season two—or season one at that time—that you’re done. We didn’t want to get that because we think that would be a tragedy because we believe that anybody can come into Fringe.

So we were stuck in this really hard place where the studio and the network want standalones for that very reason. They want standalones so they can say, “Well, anybody can come and watch,” “I heard about this cool show, Fringe, you ought to check it out.” So they’re not completely lost. That’s a problem so our solution to use an episode to give you an idea our solution came in the form of “White Tulip” and episodes like that because we realized what we need to do to satiate both our hardcore fans and our financial responsibilities is to create a term that we coined a “mythalone.”

C. Anders Right. ….

J. H. Wyman Yes, which is … then the viewers they get a payoff in the concept of mythology but the viewer can sit down and watch it who hasn’t seen it and still enjoy an episode like “White Tulip.” So that’s where we live now. That procedural element that was in “White Tulip” is part of our DNA so we’re always going to have that it’s just that we caught on. We really got it that we didn’t want to frustrate our fans.

It sounds really simple when you say it now, like, “Yes, sure, you have a great standalone case, plus you thread in some great mythology,” but I’ve got to tell you it took us a long time to get there and realize it. Now that we have that our template for telling stories that we think satisfies both parties.

Moderator Your next question comes from the line of Lena Lamoray from LenaLamoray.com.

L. Lamoray You guys have written some of my favorite episodes of Fringe like “Brown Betty” and “Peter.” What episodes did you enjoy working on the most and why?

J. Pinkner I think that it’s, as co-show owner’s it’s our responsibility to oversee all of the episodes. There are some that we write the scripts but we’re responsible for overseeing them all and I think it’s hard to say which ones were the most, we love all of our children equally.

The two that you pointed out, “White Tulip,” the season finale, sort of like the bigger landmark episodes, whether they have our names on them or not, are the ones that we sort of like. We love the “Jacksonville” episode. The ones that have truly the most emotional grounding are always the ones that we respond to the most. “Brown Betty,” though it was crazy and off-the-wall had a really deep—it was really an exploration of Walter’s pain in this sort of fantastical way. So I think you sort of hit the highlights. “Peter” was particularly effective and powerful for us.

J. H. Wyman Yes, it’s strange. Each one becomes its own puzzle to crack. You sort of fall in love with the theme of what you’re doing. Particularly, I liked “White Tulip” because it was a love story. To tell a love story in the framework of science fiction was something that excited us and to crack and go we can tell our kind of story in a way that nobody has told one and get across a profound example of a human condition. That’s what really gets us off.

I think that both of us at the end of a day and we’ve cracked an episode, we’ve broken an episode and we look at it, if we can look at each other and say, “This is a great plot but did we get across what the episode is really about?” If the answer is yes—and we don’t stop until it is—then that’s what makes going home and saying, “Wow, that was a good day.”

L. Lamoray What do you think the viewers are going to enjoy the most about season three of Fringe?

J. Pinkner With every episode comes a free box of candy.

J. H. Wyman The same stuff we’re excited about. We love the alternate universe. We love the idea. On a global scale schematically, this is what, us, Jeff and Joel sitting there looking at the world that we live in and saying how did our show reflect the society that we live in and why will people care and what are we hoping that people invest in. We’re both at a point where we realize that the world’s in a really hard place right now and that it’s a place where people have lost a lot of faith in certain aspects, whether it politics, religion or I don’t know what, but there’s so many, family. I mean, look at the family now.

There’s so many things breaking down that we believe that on a subconscious level people want to look for something that can give them some sort of, “Oh, wow. What if…?” Some sort of hope. Something out there that they don’t know that they don’t know. When you think of the concept of a parallel universe and you realize, “Wow, there could be another universe,” which is pretty wild. We want people to sort of get in there and go, “Yes,” and escape and say, “Look at that. Yes, there is something that maybe I can believe.” That maybe there is something else out there. That maybe there is another place and universe and all of us in it is not as easily understandable and that they can find some faith in the unknown.

So that triggered us to get really into the alternate universe and that’s what kind of gets us off and we’re hoping that when people get there and they’ll say, “Okay, now I get to see my favorite characters go through something that’s really strange and unique and interesting.” We’re hoping they’ll respond to that. Like those little things. Just those little flashes of the alternate universe and how things happen differently over there, that’s what compels us this season is watching our characters going to get to a place where they grow and go through things.

J. Pinkner We’re incredibly blessed. We have a phenomenal cast of actors—

J. H. Wyman Amazing.

J. Pinkner Who are all incredibly accessible and if we can in 43 minutes and 25 seconds or whatever it is, give our audience moments of being scared and moments where they laugh and moments where they’re grossed out and then moments where they’re moved emotionally, we’ve done our job and we think that we now have a bigger canvas and new actors that we’re really excited to be joining our cast to tell those stories.

Moderator Your final question today comes from the line of Suzanne Lanoue from the TV Mega Site.

S. Lanoue I have a question about the whole thing with Walternate and the doomsday machine. It seemed to me that, as you said, his motivation was he lost his son and he had to get him back and to take a little revenge and feed his ego a little, because he is Walter—but it seemed weird. This is the part I didn’t understand. He brought Peter back to work the doomsday machine which he had to know would hurt Peter because he had the little drawing from the bad guys—

J. H. Wyman The observers, yes.

S. Lanoue So is there anything that you could explain to me about that? It seems to be contradictory that he wanted him back but then he wanted to hurt him.

J. Pinkner Walter, our Walter, was the one who interpreted that drawing from the observer and said, “This is what’s going to happen to my son.” The observers can travel, we know because we’ve said it, that the observers can travel back and forth through time and pop-in here and pop-out there, there’s only one past, but from every moment that we’re living, and there’s an infinite possible futures. We don’t as storytellers believe in literal fate or destiny. We believe in choice and freewill. One of the things we appreciate the most about parallel universes is how small choices could down the road lead to big changes. So what Walter has seen as one possible outcome but not the only one and therein lies our storytelling.

J. H. Wyman Yes, he may know that. But you’ve actually, Suzanne, your questions about that element of the program are actually, they are important questions and they’re—

S. Lanoue They will be answered somewhere along the way.

J. H. Wyman That is correct and it’s actually devised for you to go, “Huh, that’s interesting. What’s going on there?” So it’s like a, you’re question will be answered.

S. Lanoue So Walternate, the alternate Walter doesn’t necessarily think that the machine would hurt Peter?

J. Pinkner Or … in his universe he needs to sacrifice his son.

S. Lanoue And that messes with his whole motivation of why he did it in the first place. My head hurts just talking about it.

J. Pinkner No, not at all. It’s like a great poker game. You don’t know what card you have until you turn it over. So just imagine that Walternate can conceivable turn over a card that you didn’t see coming.

M. Flores Thank you, everybody, for your participation. Thank you, Jeff. Thank you J.H. That concludes our conference call for today. Again, as a reminder, Fringe returns for its third season this coming Thursday the 23 of September at 9:00/8:00 Central. Thanks again, everybody.

J. Pinkner So real quick before you cut us all off. We sincerely, Joel and I, so appreciate all of your guys time.

J. H. Wyman And the support that you guys have given.

M. Flores Thank you, guys. Thank you, everybody.

J. Pinkner Talk to ya’ll soon.

J. H. Wyman Bye.

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