SPOILER ALERT: This review contains spoilers for “Fear of the End,” the series finale of “Evil,” streaming now on Paramount+.

Only on a show like “Evil” would a relatively happy ending include unleashing the Antichrist on the Vatican. In the final minutes of the paranormal procedural, psychologist Kristen Bouchard (Katja Herbers) and Father David Acosta (Mike Colter) have been reassigned to Rome, where they continue to assess potential demonic possessions despite the desecration of their previous home base in New York. There are just a few catches. First, the assessment trio is now a duo, with scientist Ben (Aasif Mandvi) choosing to remain stateside. Second, the baptism of Kristen’s infant son Timothy — possibly the devil’s prophet — appears to have been canceled, putting a demonic harbinger of the apocalypse within spitting distance of the Holy See.

Over the course of four seasons — actually four seasons and a shortened four-episode series rather than a fifth — “Evil” has developed a seeming allergy to the straightforward. Creators Robert and Michelle King had previously honed a paradoxical tone in legal dramas “The Good Wife” and “The Good Fight,” at once morally nuanced and brazenly absurd. With “Evil,” the married showrunners amplified both extremes, shifting their focus from secular politics to existential concerns like eternal souls. But while its title might suggest the show deals in absolutes, “Evil” has never felt much need for a definitive standpoint. The final quartet of episodes may not have had time to wrap up every thread as neatly as possible, but a little bit of messiness feels entirely consistent with a universe populated by nuns, djinn, doppelgangers and telepathic priests, among other oddities. So does an ending that’s optimistic and ominous in equal measure, with little clue as to which side will ultimately win out.

“Evil” reminds me a little of Damon Lindelof’s “The Leftovers,” in that describing every plot point out of context makes you sound like one of Dr. Bouchard’s patients. (To wit: In the pseudo-season finale, “Veep” star Anna Chlumsky plays a woman who plausibly claims to be one of Kristen’s daughters who has traveled through a wormhole to warn her family of impending disasters, only to find herself fucking Kristen’s husband while wearing an animal mask in the psychiatric hospital where they’re both committed. Capisce?) But unlike “The Leftovers,” this show’s embrace of gray areas doesn’t extend to the question of whether the supernatural is actually afoot. Only a few assessor cases turn out to be satanic in nature, but there’s definitely a conglomerate called DF Global run by a naked goat-humanoid known as The Manager.