OH, THIS IS ALL THAT'S ON TOP OF THE SURREY? This is late, but I'm still working through the DVR backlog, so sue me. I'm pretty much right on board with Sepinwall's thoughts on Fringe, which in my mind work out to "competent, but neither as intriguingly incoherent as Lost nor as exquisitely ridiculous as Alias." If you want to suggest fixes (e.g., more conspiracy sooner; or, if you promise naked Torv, deliver naked Torv), have at it.
I'm really here to ask two questions. First, when was the last time you saw a continuity blunder so obvious as "Day One: dead of Boston winter with snowstorm and bare trees and seeing people's breath; Day Two: trees in full bloom, swaying in the warm breeze as people picnic by the lake"? That kind of nature-generation must be part of the pattern, I guess.
Second, and this is the real question, how is the sixty- or seventy-second commercial break working for you? The point is to reduce (and, apparently, vary) the length of the commercial breaks to dissuade people from fast-forwarding through the commercials. I'm still fast-forwarding, but with the auto-correct I'm probably only coming out 15 seconds ahead and I may just give up and do what Fox wants -- leave it on through the commercials. If others feel the same way, this seems like a pretty ingenious low-tech way of preserving the value of the commercial break. Just wondering whether it's working.