Rather than take this one last chance to use his power to make things right, to make amends, he commits suicide. He’s had plenty of opportunities to rebel against the oppressive regime he chose to work for, and plenty of reasons to do so: His only son Thomas sacrificed himself due to the Reich’s cruel and unscientific eugenics policy, he’s seen evidence of a better life lived by his alt-selves in other worlds (and experienced it himself for a brief but pivotal 48 hours), and he’s constantly haunted by horrific choices he’s made in the past, like turning his back on his Jewish brother-in-arms, Daniel Levine (Charlie Hofheimer), essentially resigning him to the concentration camps and gas chamber through Smith’s inaction. The Season 4 finale delivers a bang-up bit of action to bring the whole thing to a close. Juliana can manage it, and does so throughout this season; Hawthorne Abendsen (Stephen Root) has already seen numerous visions of other worlds but is now working under duress for the Nazis creating their own propaganda (and also leaving clues for Juliana … which she solves largely off-screen); and the Nazis, who continue sending their own operatives (dubbed “weltkommandos”) into alt worlds in order to sabotage their defense programs, steal military technology (like attack helicopters and Harrier jets), and destabilize as many government organizations as they possibly can. Concluding a show that plays with the idea of an infinite number of parallel realities is a tough ask. And that’s where the troubles begin. Juliana knows that something is coming, but it’s never really explained just how the door opens from the other side (though Smith himself expresses concern at just that possibility in an earlier episode). Rebellion is growing in the West, dissension has been sowed among the existing American Nazi leadership, and America maintains not only 103 nuclear missiles but the advanced military tech they’re pulling from alternate realities. While Nazi domination of one world is often a scary enough premise for a story, Nazi domination of all possible worlds is about as extreme as it gets. With Tagomi out of the picture, save for some mysterious clues he leaves behind for Juliana to solve (largely off-screen), we’re down a traveler between worlds. The first clue? This is a full-on spoiler discussion for those that have watched all 10 episodes of The Man in the High Castle: Season 1. It takes her the full run of three seasons to master the ability to travel between worlds, but when she does in the Season 3 finale, it’s a game-changer. Smith has been the main wild card throughout the series. There, Juliana has her chance to finally kill John Smith. It’s not an apology, really, not an admission of guilt, just a statement that he’s seen that he could have lived a better life but was unable or unwilling to do so in this reality. The Man in the High Castle denies viewers of this character turn. Regardless, Juliana and the resistance fighters are there to welcome scores of newcomers who have traveled through the gate. (Here’s your second spoiler warning.) After the first season, speculations were running wild that Hitler might be the man in the high castle, as he was in possession of many reels and lived in a castle in the mountains. It’s been acting up this season. The Man in the High Castle. Season 4 of The Man in the High Castle arrived on Amazon’s streaming service this past Friday, bringing the adaptation of Philip K. Dick‘s acclaimed alt-history novel to a close. The Man in the High Castle stands out when looking at all the books Philip K Dick wrote. This event happens more or less off screen and in flashback sequences, setting up Juliana’s quest to move from student to teacher in Tagomi’s absence and giving Kido (Joel de la Fuente) a case to solve this season (and a path to patching up his relationship with his son). And yet, when push came to shove, John Smith teamed up with a young and ambitious General (Marc Rissman) to execute the Nazi Party leadership–including the American Reich Bureau of Investigation head, J. Edgar Hoover (William Forsythe)–and assume total control over the American Reich. The Man in the High Castle may have shortened that arc a bit by delivering numerous perspectives from multiple universes at once, but we’ve only got this one reality to influence. Instead, we get one final shot of the Nazi’s world-traversing machine. Tony Hale Talks ‘Forky Asks a Question’, Disney+, and Voice Recording at…, Call Harry Styles a "Pig Boy" in This Wild Cut for Time…. Because the Nazis are the Big Bad of The Man in the High Castle, and while the series often plays up Black Americans’ suffering under their regime, it never gives them a chance to directly fight back against their oppressors. Or perhaps, with a little time to ruminate on the finale, “Fire from the Gods” may just be a fitting end to a fantastic series. Then we get a time jump of one year. The First Season of The Man in the High Castle was officially released on November 20th, … COLLIDER participates in various affiliate marketing programs, which means COLLIDER gets paid commissions on purchases made through our links to retailer sites. A well-placed explosion derails the train, killing Helen, but Smith and his senior officials manage to live through it. Essentially, this alt-history take exists in a world where the Axis powers won World War II and divided up the United States into the eastern Greater Nazi Reich and the western Japanese Pacific States; a neutral zone between the two exists along the Rocky Mountains and provides a haven for a growing resistance movement. We get a rocket-powered train, carrying John and Helen Smith, through the Poconos where Wyatt, Juliana, and the resistance lie in wait. Perhaps too briskly. But it’s through experiencing these different perspectives and empathizing with others outside our spheres of influence that the right and proper path reveals itself. On the action-y side of things, we get small guerrilla warfare wins, some covert spy ops, and more victories on a personal level than all-out wars, all of which are important, but when this Worlds War has been building for more than three seasons, the ultimate resolution feels like more of a whimper than a bang. These films show the possibility of victory over the Nazis and Japanese Imperials alike, and they also hint at the potential for those who can physically travel between worlds. I started to feel that there simply wasn’t enough time to tie everything off in a satisfying way somewhere around the seventh episode; there were too many loose ends and the arcs just hadn’t progressed far enough along their tracks to deliver a meaningful ending in just a few more hours. But there’s a silver lining here. That would have made a great Season 5–including a sort of culture war between Jennifer and her younger sister / pro-Nazi Amy Smith (Gracyn Shinyei)–but alas, it is not to be.
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