We previewed Amazon Prime’s first trailer for the final season of The Man in the High Castle here back in February. Now we have a peek at an opening scene from the first episode of season four. Last year’s finale for the season, our pick for last year’s best sci-fi TV here at borg, featured a 1960s sci-fi scene with its own version of “stranger things.” An experiment led by an alternate history Josef Mengele, who could forever imprint a Nazi-won World War II on any and all timelines led to the Liberty Bell melted down and the Statue of Liberty destroyed, last seen falling into New York Harbor. With Germany’s move on the Japanese States thwarted, a revolution has gained traction out West, and viewers were left with series lead Alexa Davalos’s heroic leader Juliana seemingly understanding how to phase-travel like Cary-Hiroyuki Tagawa’s Tagomi had done.
Luke Kleintank’s Joe Blake and Rupert Evans’ Frank Frink were cast out of the story, as Jason O’Mara’s Wyatt Price stepped in to fill the void. Helen and her girls have left Rufus Sewell’s John Smith, and Himmler is taken down in an assassination attempt. Yes, a lot was resolved, but we’re also set up for much more in this coming season.
What is this mysterious relationship in another timeline between Juliana and John Smith? Check out this first look at an opening scene showcasing these characters in season four, the final season, of The Man in the High Castle:
Amazon Prime released its first trailer for the final season of The Man in the High Castle, our pick for last year’s best sci-fi TV series here at borg. Last fall’s season three finale, “Jahr Null” (Year Zero), included a set inspired by 1960s sci-fi films where an experiment led by an alternate history Josef Mengele could forever imprint a Nazi-won World War II on any and all timelines. The Liberty Bell was melted down, and the Statue of Liberty was destroyed, falling into New York Harbor. Luke Kleintank’s Joe Blake and Rupert Evans’ Frank Frink are now out of the story, as Jason O’Mara’s Wyatt Price steps in to fill the void in the rogue hero department.
Helen and the girls have left Rufus Sewell’s John Smith, and Himmler is taken down in an assassination attempt. Did he live or die, and does that mean Smith becomes Fuhrer? With Germany’s move on the Japanese States thwarted, a revolution has gained traction out West, and Alexa Davalos’s heroic leader Juliana has finally figured out how to travel like Cary-Hiroyuki Tagawa’s Tagomi.
Yes, a lot was resolved, but we’re also set up for much more in this coming season. Will Laura Mennell’s Thelma Harris take on a greater role now that Bella Heathcote’s Nicole Dörmer was sent back to Germany for flaunting the law? And what is the mysterious relationship in another timeline between Juliana and John Smith?
Check out this first look at season four of The Man in the High Castle:
Philip K. Dick‘s The Man in the High Castle won the Hugo Award for Best Novel in 1963, and is widely considered his best work. Some of his 44 novels and 121 short stories have been adapted to film, including 10 in the past year in the series Electric Dreams (previously reviewed here at borg), and big screen films Blade Runner, Total Recall, Minority Report, The Adjustment Bureau, Paycheck, Next, A Scanner Darkly, and Screamers. None of those better reflect the depth of Philip K. Dick’s genius than the Amazon television seriesThe Man in the High Castle. Season 3 is available this month on Amazon Prime’s streaming service. In his novel the series is based on Dick delved into the science fiction trope of the alternate history, a parallel world showing a view of a different 1960s after World War II. Often mislabeled as merely a story where Nazis won the war, the fact is the novel focuses substantially on the shared Japanese victory and the resulting assimilated culture in the United States some 20 years later. Series director Daniel Percival and a host of other directors and writers expand upon the novel–and the parallel world–into something much bigger, and something much greater. To call The Man in the High Castle a loose adaptation of the novel is a disservice–the series conjures the spirit of Dick’s unique vision faithfully and one can imagine Dick endorsing the expanded elements were he still with us. The novel is always the backbone of the series (even in this third season’s fifth episode “The New Colossus” viewers are brought back to a cornerstone scene from the novel). As with Dick’s book, the series is an inspired, even noble use of science fiction.
Amazon debuted its film studio potential with the pilot for the series in January 2015, followed that November by the first season, developing not only the lead characters in the book–antique dealer Robert Childan (Brennan Brown) and Japanese Pacific States trade minister Nobusuke Tagomi (Cary-Hiroyuki Tagawa)–important secondary characters are expanded, too, including struggling jewelry maker Frank Frink (Rupert Evans), his wife (girlfriend in the series) Juliana Crane (Alexa Davalos) who would venture off to meet the mysterious title character (Stephen Root), their friend and co-worker Ed McCarthy (D.J. Qualls), Nazi spy Joe Blake aka Joe Cinadella (Luke Kleintank), and the enigmatic Nazi attaché Rudolph Wegener (Carsten Norgaard). Added to these eight characters by series creator Frank Spotnitz are former U.S. soldier-turned rising Nazi officer John Smith (Rufus Sewell) and his family, Inspector Kido–a cold and ruthless Japanese enforcer (Joel de la Fuente), and Nicole Dörmer (Bella Heathcote), a rising propaganda director. The characters were fleshed out in 2016 in the show’s second season, with chemistry among the cast, plus high stakes life-and-death risks that raised doubt that viewers’ favorite characters will survive from episode to episode–all reason to keep coming back for more. With this new season, viewers have now been able to examine the tentacles of a Fascist state as it infiltrates and annihilates both the average worker and the ruling elite–nobody really wins, everyone loses. Historical parallels to the real world are left for the viewer’s interpretation.
Through Sewell’s Smith we see the inevitable doom awaiting everyone under a Fascist regime–that even the leaders aren’t exempt from application of their code of terror and hatred (Smith as a top official still lost his son for his “inferior” DNA via a genetic anomaly), from Frank Frink we see the struggle to survive for any member of the citizenry who is not of the “preferred” race, through Joe Cinadella (aka Joe Blake) we see how quickly a Nazi can be brainwashed into disregarding life, through Wegener we see the difficulty of defiance and resistance against a giant, stifling regime in power, through Dörmer we see the arrogance and cost of hubris, from Kido we see that torment and terror under an autocratic regime knows no bounds, Childan illustrates the complacency of a detached, disengaged middle class, through Tagomi we see the struggle of a single peacemaker among a field of lunatics, and through Juliana and Ed we see the possibility of hope through commitment and determination–but will they succeed or fail?.
