‘Succession’ Season Four Opener Promises More Prestine Pettiness
Succession’s season 4 opener shows potential for being the most personal season yet.
Succession’s secured position at the top of the television food chain is somewhat of a mystery, not for the show’s quality, but only when looking at its level premise. Who in their right, middle-classed, mind would enjoy watching the top one percenters, those evil leaders of the “free world,” bicker and boil over about who is most deserving of a genuinely sickening amount of money? Better yet, have them duke it out with business terminology only legitimate members of that cubicle-laced realm could point out is actually a load of nonsense. Turns out, everyone, including this proud anti-capitalist.
A glimpse into the stealth wealth world that no one, and I mean no one, reading this article will ever live in is an interesting draw on its own, but what makes Succession’s fourth season so anticipated isn’t just the promise of a day in the life of a rich rat. Rather, it’s the drama, the corrupt relationships, the grotesque humanity behind the world’s most powerful that draws audiences too close to this flame: it is the Roy’s crumbling facade of invincibility to reveal vulnerability that makes one watch with anticipation. This humanity, this ferocious drama and resulting humility paired with that exciting and accurate look into a life of scum and deceit washed clean with dollar bills and hidden from view in high-rises, is more than delivered in season four’s first episode “The Munsters.”
The episode opens with disorientation, a classic means of immediately engaging the audience, both in narrative and visuals. Succession has always been noteworthy for its grounded cinematography and pace so fast a moment to breathe is as rare as a compliment coming from one Roy to another. Instead, witty insults fling at light speed as the camera is at its most dynamic as the Roy children discuss their new business venture “The Hundred.” Notably, the Roy children are captured mostly isolated from each other as Shiv “hides the truth” about her real thoughts on their newest opportunity. In this way, the camera is in direct communication with the subtext at the heart of the scene: sure, the Roy children are physically together, but at this point in the story, they are far from united. This cinematic relationship is maintained throughout the episode, making for a thematically united premiere, as well as one that is truly exciting to watch/decipher as the camera pulls off greater feats than previous seasons, all deliciously in service of the narrative.
Cut to Tom, one of the proudly named “disgusting brothers,” calling Shiv to let her know that there is actually nothing that she needs to know concerning his latest dinner meet up. Again, Succession quickly demonstrates why so many are addicted to the ear-worm-like dialogue as Greg eats his own tail while trying to cover his tracks, tracks that Shiv has been following this entire time. This conversation also reaffirms my earlier point: the heart of this show is the unbelievably tumultuous relationships and humanity at the core of these giants of the corporate world. This episode, more so than the rest of the show, feels intensely personal. But as we all know by now watching the Roy’s for three seasons, feelings must be kept off the battlefield, and what a war this is.
With Logan forty eight hours away from one of the biggest moves of his career, he has no time to deal with cousin Greg’s perfectly imperfect date at his enforced birthday party. The Roy children pick up on this deal and attack it with full force, establishing a beautifully entertaining back and forth for the remainder of the episode. Untrustworthy compatriots, double agents, metaphors and analogies obfuscating legitimate inquiries, all of the makings of an interesting espionage thriller are present in this episode to wonderful quality. How can Tom and Shiv be married if they’re on opposite sides? Is Tom a double agent? Is Shiv? Who can trust who? Can anyone? These thoughts and countless more will race through the minds of all audiences, making for an engaging premiere that only promises more emotionally charged boardroom meetings with its powerful ending.
All of this organized chaos, the breakneck bidding war masking nothing more than a personal feud, surrounds Logan Roy’s philosophical musings only a capitalist could ponder. While at dinner he questions if humans are anything more than economic pawns, if there is life after death, and comes to the concrete conclusion that he is greater than anyone in and outside of his circle. Here, Logan feels his most Shakspearean with a grandiose presence and desperate maintenance of superiority that drives his immoral motors. Again, this detail hints at the final season being the most emotional, most personal, and most damning for its eclectic cast of wealthy caricatures turned nuanced characters.
At risk of spoiling any more, I conclude by noting this show’s confidence. A beat isn’t missed, a line of dialogue never feels nonsensical, every narrative event is creative and enthralling. With its most impressive camera work and blocking seamlessly tying into its themes and subtext, season four’s opener proves Succession has not grown stale in its absence, quite the opposite in fact. The Roy family is closing in on itself, and I cannot wait to see the explicit humanity of tv’s most powerful family.