The first season finale of Mom ends, at least on my screener, on a smash cut to the executive producer credit. It’s a surprising move for a multi-camera sitcom, because it’s the sort of thing that’s usually used to underline a major moment or turning point. The last scene of “Smokey Taylor And A Deathbed Confession” isn’t really anything like that, to be honest. It’s just a very sweet little curtain call for the season, where Christy marks her one year of sobriety mark by talking to her AA group about how hard the past year has been and how she was worried throughout it all that she might start drinking again. Only she didn’t. At first, she says, she thought she’d tried to sober up at exactly the wrong time, but now, she can realize that she had at exactly the right time. And cut to credit. It could feel gauche to equate a sitcom season to a year of sobriety, but instead, it feels oddly celebratory.
It’s a lovely little scene and a good endpoint for a finale that was quite a bit like the season that preceded it—a little over-busy and overstuffed, probably not as funny as it could have been, but ultimately impressive because of how firmly its heart was in the right place. Above all, Mom is the story of a woman’s relationships—with her own mother, with her daughter, with her long-gone father, and with the other people in her life. If the restaurant stuff fell by the wayside fairly quickly, it’s probably because the show simply didn’t have an emotional hook to tie to there. The ballast of the show is watching Christy navigate these tricky connections she has with other people, and when she’s just out there, raging at the world, the show can feel a little thin. A sitcom can usually add the humor on once it discovers its emotional core, and that’s definitely been true for Mom. The show has gotten funnier the more emotionally invested we are in the characters, and that’s another reason the restaurant seems to have receded in the show’s memory.
“Smokey Taylor” makes last week’s episode feel a bit like a dry run for this one, centered as it is on the actual birth of Violet’s daughter and Alvin recovering from his heart attack. I’m not entirely sure I buy the “Bonnie still loves Alvin” thing—it seems like the water under the bridge is being backed up by piles upon piles of rotting garbage—but it was fun to watch Allison Janney and Kevin Pollak play everything like they were goofy schoolkids. It’s a bit of an easy, obvious gag, but it’s a cliché because it works, and I’m glad the show didn’t go in for the easy drama of writing Alvin out or anything. Having him wandering the hospital halls was good fun, and I find myself hoping that he’ll stick around for season two in some capacity, perhaps as a new series regular.
As it has been for most of the back half of this season, much of the episode’s emotional weight rested on Violet’s shoulders, as the closest thing the episode had to a plot was the moment when she said she was keeping the baby—because no way was she ever going through this pain again—only to have the next scene immediately reverse this when Christy went to tell the Taylors that they weren’t going to be parents after all. (It was good that Violet changed her mind, because I don’t know if I could have handled seeing Gary from Alphas being sad.) Violet gets the customary teary scene with the baby she’s giving up for adoption, but she also gets to reaffirm her choice as one intended to break the cycle she’s grown up in. Mom, gratifyingly, is about making the hard choices and how that can ultimately make for a better life somewhere down the road. Violet doesn’t have to give up her baby, and Christy doesn’t have to reconcile with her mom or stay sober. But their lives are richer because they do.