Almost Perfect, With A Few Dashes Of Completely Infuriating

Parenthood ended its short fourth season last night, wrapping up almost all its storylines in a way that will feel satisfying if the show doesn't get picked up again, and I say "almost" because goddammit, Sarah! Let's break it down Braverman by Braverman.

Julia

All along, Julia (Erika Christensen) has been the hardest Braverman to like; she's prickly and officious and, like most TV Type As, a boring know-it-all. So her storyline this season has brought changes to Julia's life that have probably been more interesting for Christensen to play (and are certainly more interesting to watch). Joel (Sam Jaeger) and Julia's adoption of Victor (Xolo Mariduena) and Julia's uncharacteristically impulsive decision to quit her job have obviously caused ripples that have challenged Julia's self-image and philosophy of life: no longer is she the primary wage earner in the family, nor does Victor easily accede to her parenting techniques.

But, in the end, Victor's adoption became the occasion around which the extended Braverman clan could assemble, each declaring their intentions to integrate him into the family. I could have done without the judge being so dazzled by them that he was compelled to compliment them, but fuck it, they are a great family, and Victor is lucky to have them -- luckier than many foster kids probably are. And the triumphant moment is all the more meaningful given what we saw of Julia's doubts about it; we know she fought hard for it, and that it wasn't easily won.

Crosby

Setting aside my doubts that Crosby (Dax Shepard) and Adam (Peter Krause) are making enough money at the Luncheonette to pay for Crosby and Jasmine (Joy Bryant) enjoying a lovely anniversary dinner, never mind for Adam to take Kristina (Monica Potter) to Hawaii, I appreciated that Crosby got a storyline this season that admitted a non-Braverman in-law. Having Crosby's mother-in-law Gwen (Tina Lifford) lose her job and have to move in with Crosby and Jasmine was not only a realistic nod to These Economic Times; it allowed for the kind of plotline that Parenthood does best: good people doing their best to manage difficult circumstances, without yelling at each other and acting ridiculous. Of course Crosby and Gwen would clash, living in such close quarters, and of course there would be generational differences in the ways Gwen and Crosby approach the care of Jabbar (Tyree Brown). And even though Gwen overreacted to a gentle request that she not contradict Jabbar's parents in front of him (and Jasmine didn't do enough to back up Crosby during the conversation), moving out like a fucking baby, there's been no permanent damage to the relationship. On Parenthood, as in life, people can disagree and even get very angry without cutting ties. Of course, announcing a pregnancy is also a good way to mend fences.

Adam

Or, should I say Kristina, because this whole season has been a showcase for Monica Potter. I wish I thought Potter would be recognized at the Emmys for the work she's done with Kristina's diagnosis of breast cancer: heartbreak, anger, fear, joy. Also the emotion known as "stoned," once Adam got her some pot to help with her nausea (and whatever else ailed her, really).

What really gave the storyline weight, though, was that the viewer felt Kristina could be in actual peril. Not that anyone -- I have to assume -- was rooting for producers to kill Kristina off, but as her illness progressed, and she experienced setbacks along the way (particularly at Christmas), the stakes felt real. So, as with Julia, her ultimate triumph over breast cancer may have made you sob with relief as it did me.

And Adam was there also. But boy, this season more than any other, it was very clear that he doesn't deserve Kristina.

Sarah

GODDAMMIT SARAH. WE WENT OVER THIS. How could Sarah (Lauren Graham) let Mark (Jason Ritter) come to her house, declare himself to her, and still decide she was going to "try to make it work" with Hank (Ray Romano), thus causing Mark to make this face?

Some (Alan Sepinwall) have complained that Mark isn't a good match for Sarah either, on the grounds that he's indecisive and stammery and that he and Sarah have nothing in common. The stammering is a fit with the show's naturalistic style, in my opinion. In terms of indecision, lots of great couples have broken up, gotten back together, and been very happily married for going on sixteen years (including ones I have been in). Nothing in common? I mean, they both like kids? I don't know, it's hard to nail down what Sarah is really about when she has yet to hold a job for more than a season. And honestly, I am prepared to admit that I love this pairing mostly because of him and my residual affection for Lauren Graham from Gilmore Girls; I would even hear arguments that, at this juncture in her life, Sarah is better off alone than with either Mark or Hank. But she's not better off with Hank, as he amply proved last night by leaving. Granted, he left for a good reason -- to live in the same city with his daughter -- but that doesn't change the fact that he's emotionally unavailable and weird and a bad match for someone as open and vulnerable as Sarah. So, I really hate the way this plotline ended.

That said: there seems to be some awareness on producers' part that Sarah's leaving Mark for Hank is more evidence of her talent for self-destruction, in that the same episode found Amber (Mae Whitman) reconciling with Ryan (Matt Lauria). That couple broke up for very good reasons: Amber recognized the kinds of patterns her mother had lived through with her alcoholic father (John Corbett). But she also acknowledged the positive changes Ryan had made in his own life, and the ways he had made himself worthy of her. Was Sarah ever worthy of Mark? Maybe not. But he loved her anyway and she should have held on to him with both of her stupid, stupid hands. Ugh.