‘Succession’ season 4 review: The stakes are high as the end of the riveting, Emmy-winning Shakespearean saga draws nigh

The rubble has barely settled on a house ever divided as the eagerly-awaited fourth, and final, season of Succession begins. This 13-time Emmy-winning drama (with 48 total nominations!) continues its sharp commentary of the wealthy media conglomerate Roy family by exposing the intricate web of capitalist greed and personal ambition, and the bitter battles for power that lie therein. Having been awarded for its direction, writing, editing, casting, and music composition apart from having broken the record for most acting nominations for a drama series in a single year, the distinguished cast and crew have consistently delivered outstanding work and secured the show as one of the greatest of all time. The premiere might open on Logan’s birthday party, akin to the pilot episode of Logan’s 80th “Celebration,” but he’s doing anything but celebrating with his upcoming sale of Waystar Royco, an acquisition, and an election looming. However, before we get into what’s to come (which, to be fair, is not much with the creators being understandably tight-lipped about one of HBO’s most anticipated finales ever), let’s revisit where the Roys currently stand. 

In a surprising turn of events after trying to acquire Matsson’s (Alexander Skarsgård) GoJo for most of Season 3, Logan (Brian Cox) decides to sell the company instead. By cashing out, he also prevents his kids from being able to take the Waystar Royco throne. But who gave him a heads up that the kids were planning to block the sale by preventing a supermajority? Master schemer, Tom Wambsgans (Emmy winner Matthew Macfadyen), who warned Logan after Siobhan (Sarah Snook) called him, detailing their plan. So now, even though they’ve finally banded together, Shiv, Kendall (Emmy winner Jeremy Strong), and Roman (Kieran Culkin) are SOL with the family business – or so it seems.

Then there’s Connor (Alan Ruck), who is the only other Roy in attendance for Logan’s big day. He’s also distracted by the current election but for his own pitiful presidential campaign against the Logan-backed, fascist Mencken (Justin Kirk). An oblivious Greg (Nicholas Braun) asks Connor: “Squeezed down? From one? ‘Cause that’s the lowest number.” Aptly titled “The Munsters” after one of Logan’s cantankerous, witty asides, the premiere then finds Shiv, Kendall, and Roman scheming elsewhere to gain the most leverage against their stubborn father. And as Roy celebrations always bring the juiciest drama, this one is no exception. The screenplay is laced with constant, savage sarcasm and a keen sense for balancing laugh-out-loud comedy with gripping melodrama. HBO has kept the season locked down tighter than the ATN safe room by sending only the first episode to screen (Nicholas Britell is only halfway through scoring the season), but even the tightly-wound premiere proves they’re going out with quite the bang. With more hints gleaned from the trailer, including a likely mid-to-late season family reunion where Logan further berates his children, mentioning both love and frivolity, there are three other key points that allude to how the final season may unfold.

First off, Kendall narrates a potential team up with Sandy (or Sandi? Did the patriarch perish?), Stewy, and Pierce. You’ll remember Sandy and Stewy’s previously thwarted attempts to take over Waystar and the Pierces’ prolonged yet unsuccessful bidding war, too. Rehashing unfinished business with rivals of old who all have a bone to pick with Logan might just be what it takes to defeat the ailing giant. Next, in a conversation with Roman, Logan mentions an impending ‘Night of the Long Knives.’ Referring to the ominous three-day purge in 1934 that consolidated Hitler’s power as Fuhrer and prevented a rumored internal paramilitary coup, does Gerri’s line, “We’ve been schooled by a barbarian that goes by the name Logan Roy,” indicate that Logan sees someone besides the Roy children as a threat? Or is he using Roman yet again as his own meat puppet? Lastly, that final fiery moment in Tuscany will definitely lead to emotional repercussions for Shiv and Tom. While an argument ensues in the trailer that results in Shiv calling Tom a snake, an inevitable confrontation leads to a climactic, life-altering moment early in the season. Familiar faces return, like Nan Pierce, played by the fierce and Emmy-winning Cherry Jones, and her granddaughter, Ken’s ex, Naomi (​​Annabelle Dexter-Jones). Or Stewy (Arian Moayed), who is seen sharing a hug with Ken, and Gerri (J. Smith-Cameron), who is quickly spotted warning Roman of a legal threat (lovers’ quarrel?).

Having shaped such a steadfast and riveting family drama with sophisticated, yet delicately interwoven elements, Jesse Armstrong assures that they’re holding nothing back in creating a satisfying finale for the ages. Brian Cox has already proven, yet again, that he deserves an Emmy for his ferocious portrayal of such a terrorizing manipulator. Sarah Snook shows such fine control over Shiv’s identity that just one glance contains multitudes of emotional depth. Britell’s enigmatic, tense score is back and bigger than ever. He continues to find new ways to intensify the already discordant music, like mixing the main theme into a pivotal scene which adds an unexpectedly haunting subtext. While the clash between the family and business have always set a thrilling stage, it is the actors themselves who, in bringing their A-games, provide the ruthless entertainment.

With a final act in this daring Shakespearean tragedy that will have audiences on pins and needles and speculating if the title will finally be realized, one only needs to heed the playwright’s own centuries-old warning: “These violent delights have violent ends.”

Grade: A

Succession premieres the first episode of its fourth and final season this Sunday, March 26 at 9 pm ET on HBO and streaming on HBO Max, with new episodes weekly.