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Likewise, Chelah Horsdal’s Helen Smith is a far more capable, forceful presence this season. Smith’s schemes to that end, which involve the alt-world, are fairly predictable, but still feel vital thanks to Rufus Sewell’s tense, multilayered performance.
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Season 4 is much more interested in Smith and Kido’s stories, with both men facing deserved reckonings for their actions throughout the series - largely fuelled by each man’s devotion to their family, and the lengths they’ll go to in order to keep them intact. That’s no commentary on Alexa Davalos’ performance, which is as strong here as it has been throughout the show’s run, but it definitely doesn’t have the weight it could’ve had she been working with better material.
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For the most part, Juliana’s utility in Season 4 is her knowledge of the Smiths, and even that’s usually just used to move the plot. Juliana’s story in particular feels empty of any meaningful character development. High Castle’s frequent cross-cutting between storylines and bevy of new additions make the early episodes of the season especially tough to follow.Time spent on new characters and extraneous subplots could have been better spent fleshing out the arcs of the three main characters. leader Bell Mallory (Frances Turner), but a slew of new supporting characters, which in some cases, are completely redundant. Season 4 not only introduces a new focal character, B.C.R.
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If you were hoping that Season 4 would have more focus after some of the show’s mainstays departed last season, you’re going to be disappointed. With two high commands and a Resistance to follow, MITHC’s always had to service a huge cast of characters, often to its own detriment. The Man in the High Castle himself, Hawthorne Abendsen (Stephen Root), is still in Nazi custody, being forced to disavow his life's work in the form of a clever piece of propaganda that we won't spoil here. These shifts are in part thanks to the efficient, escalating activity of the Black Communist Rebellion, a newly-introduced faction of the resistance fighters. While Juliana spends a year in the alt-world, power shifts between the Reich and Japanese Pacific States leave an opening for Smith to consolidate his power. Season 4 picks up right where Season 3 left off, with Juliana Crain (Alexa Davalos) getting shot by John Smith (Rufus Sewell) as she escapes into the alt-world (ours) in which the Allies won the war.
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Unfortunately, those moments punctuate an otherwise troubled story, full of too many characters to service and a weakened confidence in its own central conceit. Luckily, Season 4 does deliver some great character work that makes the most of the past three seasons’ horror. But despite its mostly successful marriage of thrilling espionage and science-fiction, High Castle has always been at its best when miring itself in the tricky moral soil that a Greater American Reich would be built on. The Man in the High Castle went from being a high-concept show about an America under Nazi rule to being a higher-concept show about alternate worlds and how Nazis would want to put every America under Nazi rule.