It’s Always Sunny’s momentous season finale leaves the Gang in flux

Season finales have never really been It’s Always Sunny In Philadelphia’s strongest outings. The perceived need for a big finish tends to elevate plot over character, and the busyness, as a rule, distracts from the joy of watching the characters do deep dives into their collective and individual madness. “Dennis’ Double Life” looks like it’s going that way as well, what with the revelation that Dennis sired a child while killing time at an Applebee’s after he ditched the Gang’s cross-country beer bash in “The Gang Beats Boggs.” As the chipper-accented Mandy (Christine Woods) and her adorable son, Brian Jr. (Dennis passed himself off as longtime alias Brian LeFevre for the seduction), wait patiently for Dennis/Brian to spend some time with his secret family, Dennis and the Gang brainstorm their usual cavalcade of elaborately bananas scams to send her on her way.
Mac wants to pretend that he and Dennis are a couple, his recent openness about his sexuality allowing him to spin ever more elaborate fantasies about the nature of their sexual relationship. (The guys’ unexplained knowledge thereof coming into play as Mac casts Dennis, variously, as his “power bottom” and “gimp.”) Frank wants to “Indecent Proposal” the lady, setting out to find a millionaire willing to offer up cash to sleep with her (though not a million bucks, since that’s a lot of dough). Charlie’s Charlie logic sees him already inspired by Dennis’ predicament to trap the Waitress by somehow getting her pregnant. (“Okay, he’s already onto another thing,” snaps the annoyed Dennis.) Dee protests being skipped, saying she knows the guys will just ignore her anyway, which, of course they immediately do, after dismissing her for being so emotional, like a woman.
So, business as usual. Except that when the dust settles, Dennis leaves Philadelphia to go be with his new family.
As cliffhangers go, Dennis leaving isn’t, in itself, a major deal,* even though it’s more forward-looking than most other Sunny finales. It sets up the idea that season 13 will open with family man Dennis going insane in the politely snowy Middle West and plotting his return or the Gang realizing that Hell without Dennis Reynolds isn’t as satisfyingly horrible and plotting to spirit him back to Philly. It’s most likely a combination of the two. At any rate, the show’s not about to become It’s Always Sunny In Bismarck. Still, Glenn Howerton’s goodbye—like Charlie’s pre- and post-coital scenes with the Waitress (we’ll get there)—is sold in the performance, Dennis’ defiant pledge to leave behind his life of vanity, deceit, and perpetual “person of interest” status informed by how tenderly and sincerely he says goodbye to his infant son in a filthy Philly alley.
Sunny’s cast excels at that, the second-skin familiarity of actor and character making moments of genuine emotion possible, even in the midst of the most darkly ludicrous circumstances. (You know, like pretending to take a bullet as special agent Dane Brass just to get out of connecting with the mother of your bastard child.) In these moments, watching Sunny is like watching a science fiction (or more accurately horror) movie, where you’re allowed the briefest tragic glimpses of the humanity that once animated (or should once have animated) the shambling, destructive monster laying waste to everyone and everything that could conceivably accept it.
Charlie’s obsession with the Waitress is objectively horrifying. When—after luring her to his apartment for a chat with the promise of a dollar a minute—he unveils the two presentation boards tracing his unwilling beloved’s inexorable decline, Charlie is oblivious to how instrumental he has been in the Waitress’ plight. And yet.
“At this point, I just don’t know what else to say.”
“Oh, my god, stop saying things to me! Don’t you understand that this is never gonna happen, so let it go!”
“Okay, but… why? You just say no and you won’t give me a shot. I don’t understand what’s so terrible about me.”