Binge-worthy: Succession’s final season is a brilliantly executed swansong

Succession 4

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5 stars

The fourth and final season of Succession is shaping up to be a beautifully executed swansong, one that is ready to go out on a high note.

The series, about ageing Rupert Murdoch-esque media mogul Logan Roy (Brian Cox) and his emotionally abusive relationship with his four children Connor (Alan Ruck), Kendall (Jeremy Strong), Shiv (Sarah Snook) and Roman (Kieran Culkin), has been a critical darling since it premiered in 2018, nabbing prestigious wins for its cast and crew. 

A dark dramedy about the failures and foibles of entitled, greedy one-percenters may gnaw at you after three seasons in lesser hands, but Succession still manages to surprise and move with its portrayal of deeply flawed and traumatised characters. 

Here are three reasons to tune in. 

1. New dynamics

The season opens where the last one left off – after Logan had renegotiated his divorce agreement with his ex-wife and wrested control of his media empire away from the hands of his children Kendall, Shiv and Roman.

The first two episodes tread a lot of familiar ground – the Roy siblings making unsound decisions just to spite their father, who in turn tries to poison his kids against one another. 

Audiences are led to believe that this dynamic will continue to play out, but the rug is pulled out from underneath them when a major character death sends the surviving characters spiralling off in grief, anger, regret and ambition. 

It is a daring move but also a smart one that allows new stories to be told in the wake of such a drastic narrative shift.

2. Devastating supporting performances

Many members of Succession’s cast, especially Cox, Strong, Snook and Culkin, have been rightfully nominated and awarded for their performances, but the acting from even the supporting cast who have not received as much notice is masterful.

So far, the fourth season has been a great showcase for Ruck, who plays eldest son Connor, the least loved Roy child often excluded from major family decisions.

In a monologue where Connor talks about learning to live without the love of his family, Ruck is placid on the surface, but the small wobble in his voice and the resignation in his eyes betray his deep sadness at his family’s lifelong dismissal of him.

Connor’s escort-turned-fiancee Willa is also played excellently by Justine Lupe. Willa is certainly drawn to Connor’s wealth, but has also come to develop genuine affection for him, having witnessed his emotional neglect.

And Lupe manages to convey these complicated feelings Willa has for Connor – love, pity, protectiveness, frustration – in nothing more than a few forced smiles and forlorn looks.

3. Strong but restrained writing

Any review of Succession would be remiss if it did not point out the quality of writing on the show. But what is outstanding this season is what is not written as well.

Many scenes that would be considered key in any other series – an estranged couple’s confrontation, a bride’s meltdown, the Roys’ tense bidding wars – are often cut out entirely and, in fact, told to audiences via bits of dialogue later.

Skipping past these big moments makes the story leaner, with clearer focus on characters’ emotions and reactions. It is an elegant bit of storytelling that also respects the intelligence of its viewers, placing trust in their ability to piece together information on their own.