Well. The Last Frontier didn’t just step on the gas… it launched itself off the cliff, pulled three mid-air backflips, high-fived Jason Voorhees on the way down, and stuck the landing.
Seriously. I respect the hell out of that.
The whole finale came screaming at us with chaotic, go-big-or-home energy, so naturally, it did both. I kind of love that it didn’t even pretend it was going for anything else.
Starting the episode with “What the fuck have I done!” over the plinkity plink of some kind of piano music is exactly the kind of “sure, why not?” energy that The Last Frontier has fully earned by now.
That combination of seriousness and silliness is the closest thing we have left to honesty on television.
From there, it’s just Bradford chewing through the entire facility like she’s starring in a prestige remake of The Shining, except instead of “Here’s Johnny!” she’s giving deranged monologues about patriotism while calling Sidney a monster.
Somehow, she delivers that line as if she’s auditioning for a national tour of Macbeth, which, frankly, good for her, because if you’re going to go down in flames, you may as well go down victoriously dramatic. Did you see the cock of her head? The blood dribbling down her lip? That stuff was mesmerizing.
And then we got a whole showdown where operatives literally descend from the ceiling — like Mission: Impossible meets bad government decision-making — and Levi and Sidney scattered in different directions, because of course they did.
Nothing says finale like a pair of fugitives sprinting through industrial hallways while Bradford keeps popping up like the world’s worst whack-a-mole with increasingly aggressive weapon choices.
First, a gun, then a knife, then an axe, and then a cable. And let’s not forget the electrical-waterfall death pit. Honestly, at some point, I was waiting for her to pull out a chainsaw. She was absolutely committed to her bit, and you have to respect that level of workplace ambition.
Is it wrong to idolize her just a bit?
But in the middle of all this head-spinning ridiculousness — screaming, stabbing, dangling over watery doom — The Last Frontier managed to sneak in a discussion about something that actually matters.
Sidney wasn’t just fighting Bradford; she was fighting the version of herself who thought the truth was easy.
That’s the real meat of the story. When Bradford tells her, “The monster is who you’ve always been,” it’s unhinged and cruel and also the exact kind of thing corrupt power structures say to people who finally stand up to them. No wonder there are so few who do it.
Bradford believes only monsters challenge the system, and she bends Sidney’s ear just enough that she believes it, too.
It’s impossible not to see the real-world parallels. Whistleblowers face these same accusations every day — traitor, criminal, danger to national security — and people in power love to act as if exposing the truth is more harmful than the corruption being exposed.
It never is, and the finale absolutely hammers that home with every desperate decision Sidney makes and every panicked monologue Bradford delivers while the walls close in around her.
The truth doesn’t set you free, not in that world and not in ours. Just ask Julian Assange or Edward Snowden. The people aren’t supposed to know what the government is up to. If you expose them, you’re a target.
The truth paints a target on your back while everyone who benefited from the lie lines up to take a shot.
It’s kind of crazy that this show about snowmobiles and improvised surgery and dog-sledding-as-ambulance maneuvers managed to articulate that more clearly than half the political dramas airing right now.
And speaking of improvisation — Frank riding a snowmobile across a cement floor might be my single favorite moment of the season.
It’s so sincerely ridiculous and also so exactly who Frank is — a man who will absolutely break OSHA regulations in three states if it means getting to someone he cares about in time, even though he probably should have left Hutch to babysit a dying Sidney while he chased Levi.
But logical decision-making has never been Frank’s brand, and clearly, that’s fine with me. Who doesn’t want to feel that free?
What is Frank’s brand is his tortured loyalty to “the book,” which he finally admits isn’t morality so much as a hiding place.
Following the rules means you don’t have to choose, and choosing is where the real weight is. That’s why his conversation with Sidney in the hospital makes you stop and think. It’s not the drama, the honesty.
Doing things by the book is easy because it removes responsibility. You just follow orders and let someone else deal with the fallout.
But whistleblowers don’t get that luxury, and neither does Sidney, who’s forced to confront the consequences of her own choices in a way that’s far messier than Frank’s rigid worldview has allowed.
Frank sees himself in Sidney, and rightly so. They’ve both made choices that got people killed and lived to regret it while still knowing that the choices they made weren’t the real problem. That’s hard to digest. Greater good and all that means sacrifice, and good people go down as a result.
And then we got the cabin sequence, which slowed everything down in that unmistakably “final five minutes of a finale that wants you to breathe again” way.
But let’s be clear. It was merely a moment in Frank’s life because his family had been changed as significantly after the plane dropped out of the sky onto the Alaskan tundra as it was when they lost Ruby.
Still, while the pause in the action may be a bit of a trope, it really worked here. Watching Frank, Sarah, and Luke sit there, wrestling with consequences and guilt, and the ways grief can fossilize into something impossible to shake, was more emotionally honest than I expected.
The wish jar moment with Ruby’s notes was genuinely touching, and I don’t say that lightly. Sometimes, being emotional in a genre show can feel like an afterthought. This one, though, anchors the whole story. I don’t know if I was in the same spot, I could have done it with such grace.
Of course, because The Last Frontier is incapable of leaving us in peace for more than thirty seconds, Levi called, without any indicator he was about to make Frank’s life even messier, and casually revealed he faked his own death using a guy named Julian Steel he found months earlier.
I mean, of course. Levi never throws away a corpse when he can use it later, right? Why would he? One of his core concepts is out-MacGyvering MacGyver.
Frank, who absolutely knew the burned body wasn’t Levi, mind you, wanted to just shrug it off with this “not my problem anymore” exhaustion, which, while deeply relatable, isn’t how any of this works.
Frank was willing to put it all behind him as long as his little corner of the world remained drama-free.
Except Levi considers Frank’s little life in his little corner of Alaska the center of the much bigger mess. Honestly, I’m not entirely sure how he factors that since it didn’t start in Alaska, even if it ended there, but The Last Frontier isn’t in the sense-making business.
And the final shot of Levi watching Sidney being transported, saying “What can I say? I love my wife,” while Sidney gives the camera the kind of sly, knowing look that tells you she absolutely knows he’s coming, was the perfect note to end the season (or the series if necessary).
It’s unhinged and romantic and tragic and triumphant and morally complicated in precisely the way this show has been from the start. None of it should work, and yet it delivered ten weeks of unabashed entertainment. No complaints here.
Whether it comes back or not, The Last Frontier Season 1 Episode 10 left the door wide open with a neon sign flashing: There’s more story here. As if we thought it would end any other way.
Will we get more of this tale? Who knows. It seems like an expensive show to make, and Jason Clarke is in demand. If we do get it, it will be a while.
But if we don’t, at least the show went out exactly the way it lived — loud, chaotic, heartfelt, slightly ridiculous, strangely wise, and fun as hell. I never felt worse for watching it. Instead, I was invigorated and ready to take on the world. If only all shows could achieve that.
More from the Frontier:
- Who could blame Sarah and Luke for choosing Frank and pulling him from the colossal mistake of turning himself in? It wouldn’t actually help anyone or solve anything. Way to come to your senses!
- Did anyone else lean forward, clap, and laugh out loud at some of the more outrageous moments? Seriously. This show did things that were otherwise reserved only for guys like Bruce Willis or Liam Neeson.
- I’m pretty sure Alfre Woodard was having the time of her life. Give me another role that allowed her to flirt with reality like this. Maybe she dabbled in Salem’s Lot.
- I didn’t need to see a burned body, even for pretend. Fire and Carissa do not go well together.
- This is the kind of show where you don’t have to worry about someone not making it to the end. Frank, Sidney, and Levi are teflon. Nothing was going to happen to them. It made it more enjoyable, really.
Well, there you have it. A full season behind us, and what a wild ride it was! Did it go out as fantastically as it came in? Share your thoughts in the comments below. Long live The Last Frontier!
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The Last Frontier Season 1 Episode 10 Crashed Through Every Wall on Its Way Out
The Last Frontier finale goes gloriously off the rails, blending unhinged action, emotional honesty, and a surprisingly sharp look at accountability and truth-telling.
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The Last Frontier Season 1 Episode 9: Converge Finally Forced Everyone Into the Same Fight
The Last Frontier Season 1 Episode 9 pushes Sidney, Frank, Levi, and Bradford into the same explosive fight as every storyline finally collides.
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The Last Frontier Season 1 Episode 8 Exposed Sidney’s Entire Life was a Lie
Sidney’s past finally explodes into view on The Last Frontier Season 1 Episode 8, revealing the lies, betrayals, and heartbreak that shaped her — and what she’s fighting for now.
The post The Last Frontier Season 1 Episode 10 Crashed Through Every Wall on Its Way Out appeared first on TV Fanatic.
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