Families Like Ours: Season 1, Episode 7 - I Make All Things New (2024)

The episode "I Make All Things New," the seventh and final episode of Families Like Ours Season 1, opens with a tense and chaotic scene of frantic typing and screams, setting a distressing tone that reflects the collapse of order amid Denmark's climate evacuation crisis. The government's organized evacuation has descended into chaos, with lawlessness and desperation growing as resources dwindle and many Danes face the grim reality of being left behind.

Laura, who has relocated to Bucharest, is shown working hard to build a new life but is emotionally burdened by missing her family and friends, especially her boyfriend Elias. Meanwhile, Elias, who has been missing and is now revealed to be in a wheelchair, arrives unexpectedly at a wedding in Denmark as the best man. When his eyes meet Laura's, he quickly looks away, indicating unresolved tension and emotional distance between them.

Jacob and Amalie, struggling with their precarious situation, face the consequences of Jacob's decision to inform Interpol about their daughter's disappearance, which has led to his professional ruin and their financial instability. After being fired from Gilles' payroll due to Jacob breaking a condition, they resort to odd jobs to survive. Amalie works as a janitor for Mr. Boyer, an old acquaintance, but is eventually let go due to the legal complications of their citizenship status. The couple's relationship is strained by these hardships, and their cramped living conditions contrast sharply with the home they once hoped for.

At the wedding, which takes place amid the ruins and evacuation chaos, Carl and Hannah get married, symbolizing a moment of human connection and hope despite the surrounding devastation. Laura and Elias's complicated relationship is underscored by their interactions, with Laura refusing to give up on Elias despite his mysterious disappearance and physical condition. Laura's mother, Fanny, remains anxious about the future and declines Laura's invitation to Paris, fearing she would be a burden.

Nikolaj, Amalie's brother, and his husband Henrik prepare for the evacuation by selling their properties at a cut rate, anticipating the market crash following the prime minister's public announcement. Henrik also tries to help his homophobic older brother Peter, showing the personal and familial tensions exacerbated by the crisis.

The episode closes with a poignant scene of Laura sitting beside Elias, promising him that nothing has changed between them. She helps him stand, and their embrace suggests they are willing to give their relationship another chance and build a life together despite the challenges. The final moments emphasize the resilience of human connection and the will to survive amid the overwhelming losses caused by climate disaster.

Throughout the episode, the characters confront painful truths about their futures, make difficult decisions about whether to stay or leave Denmark, and find small moments of hope and love amid the chaos of evacuation and environmental collapse. The narrative ties together the various family arcs, showing the emotional cost of climate change while affirming the enduring value of community and relationships.

The ending of "Families Like Ours," Season 1, Episode 7, titled "I Make All Things New," shows Jacob and Amalie facing the harsh realities of their displaced lives but finding a renewed sense of hope and determination to rebuild. Despite losing their jobs and home in Paris due to legal and immigration issues, they decide to move to Bucharest to start over with Laura and Fanny. The episode closes with Jacob and Amalie embracing their love and commitment to each other and their son Mikkel, symbolizing a new beginning amid ongoing struggles.

Expanded narrative of the ending scene by scene:

The episode opens with Jacob and Amalie in Paris, grappling with the fallout from their precarious situation. Jacob's old friend Benny had tried to help by giving Jacob a job at his architectural firm, but when Jacob involved the authorities to find their missing daughter Laura, Benny was questioned for employing Jacob without a work permit. This led to Jacob losing the job and Benny withdrawing his support, forcing Jacob and Amalie to vacate the company apartment. Amalie struggles to find work, briefly securing a cleaning job but losing it due to lack of a work permit. Their future looks bleak as they face homelessness and unemployment.

Amid this hardship, Jacob proposes moving to Bucharest to live with Laura and Fanny, hoping to restart their lives from scratch. This suggestion comes from a place of exhaustion and despair, as Jacob questions whether he has hit rock bottom. Amalie, however, recalls the life they had dreamed of in Paris, where Jacob had proposed to her twice, and encourages him not to give up. She reminds Jacob of his talent as an architect and suggests she could work while he cares for their son Mikkel. This moment rekindles Jacob's hope, and they share a heartfelt embrace, reaffirming their love and commitment.

The narrative then shifts to a poignant phone call between Jacob and his daughter Laura. They exchange grief over their losses but also express gratitude for what remains. Jacob mentions upcoming job interviews scheduled for January, signaling a cautious optimism. Both father and daughter cry, separated by borders but united in their shared pain and hope for a new beginning.

The episode concludes with Jacob and Amalie moving forward with a steely resolve to face the uncertain future. They have accepted their losses but are determined to build a better life for themselves and Mikkel. The final scenes emphasize the themes of resilience, love, and the human capacity to find hope even in the darkest times.

Regarding other main characters at the end: Laura is working hard to build a life in Bucharest, missing her family but persevering. Fanny remains independent and anxious about the move but supports Laura. Elias's fate remains uncertain, with Laura refusing to give up on him despite his mysterious disappearance. The series closes on a note of cautious hope amid ongoing challenges caused by climate disaster and displacement.

The TV show Families Like Ours, Season 1, Episode 7 titled "I Make All Things New" (2024), does not have a post-credit scene. The episode concludes with a powerful and emotionally charged finale that ties together the characters' arcs amid the chaos of Denmark's evacuation due to climate disaster, ending on a note of bittersweet hope without any additional scenes after the credits.

The finale features significant moments such as Ida's sacrifice, Carl and Hannah's wedding amid ruins, and Laura's reunion with Elias after his traumatic ordeal. The episode closes with a focus on human connection and survival rather than adding any extra post-credit content.

In episode 7, Laura must decide between staying with her divorced parents--her father Jacob, who plans to move to France with his new family, or her mother Fanny, who is alone and likely to relocate to Romania--or following the boy she has fallen in love with, Elias. This choice is complicated by the threat to Elias' life and Laura's feelings of loneliness, which lead her to call Jacob and then reconsider her plans after receiving an unexpected message.

The episode opens with chaotic scenes of the Danish evacuation's final days, including frantic typing and screams that set a distressing tone. The government-organized evacuation has descended into lawlessness and desperation as resources dwindle. Characters face the painful reality of leaving their homeland behind with no last-minute salvation. The families, including Laura's, confront impossible choices and the emotional toll of the evacuation, highlighting the human cost of the climate disaster.

The wedding scene, featuring Carl and Hannah, occurs amid the evacuation chaos and serves as a poignant moment of connection and hope. It symbolizes that despite the overwhelming loss and disintegration of society, love, community, and meaning persist. This celebration encapsulates the series' message that human connection remains vital even as the world changes drastically.

Elias arrives at the wedding in a wheelchair as the best man, indicating he has suffered serious injury or trauma. When his eyes meet Laura's, he quickly looks away, suggesting unresolved emotions or tension between them. This moment underscores the personal costs endured by characters amid the broader crisis and adds emotional complexity to Laura and Elias's relationship.

Jacob, a successful architect, feels guilt over Laura's struggles post-divorce and is pressured to support his new family with Amalie and their son Mikkel, leading to hasty decisions. Fanny, Laura's mother, struggles with stress and anxiety about relocating to Romania and declines Laura's invitation to Paris, fearing she would be a burden. Amalie, Jacob's wife and a psychologist, empathizes with Laura's dilemma and secretly helps her explore options, though she sometimes overlooks her father Bjørn's manipulations. These dynamics highlight the emotional strain and complex loyalties within the family during the crisis.

The episode "I Make All Things New" from Families Like Ours, Season 1, is generally suitable for mature audiences but may not be fully family-friendly for young children or very sensitive viewers. The series overall contains mild sexual content and nudity, mild violence and gore, moderate profanity, moderate alcohol/drug use, and moderate frightening or intense scenes.

Potentially objectionable or upsetting aspects for children or sensitive people include:

• Situations involving environmental crisis and displacement, which can be emotionally intense and distressing.
• Scenes depicting dangerous or stressful situations involving children, which may cause anxiety for some viewers.
• Moderate use of profanity and alcohol/drug references.
• Mild violence and some intense moments that contribute to a tense atmosphere.

The show is a drama that deals with serious social and environmental themes, so it is best suited for older teens and adults who can process complex and sometimes uncomfortable subject matter without spoilers.