The Munster family, but billionaires
Just over a year after the devastating (for kids) end of season 3 of ‘Succession’, we return to the plots and intrigues of the Roy family and their company WayStar RoyCo. The meeting will take place next Sunday (Monday in Spain) on HBO Max and the server has already been able to check out the first episode of the final season of the series. And yes, we confirm it: it’s back as excellent as ever.
I don’t know to what extent Jesse Armstrong and company were one hundred percent sure that this fourth season would be the end of the series. However, this beginning indicates yessince I don’t think it’s a random choice to start this latest batch with Logan’s (Brian Cox) birthday, which goes back to the beginning of the series.
The circumstances are indeed very different. If on that 80th birthday the tycoon dropped the bombshell that he wasn’t planning to retire as CEO of the company, much to Kendall’s (Jeremy Strong) bitterness, this time the family is even more divided, with part of the family on the other side of the country. As with this season’s posters, it is inevitable to notice the reflections between what was before and what is now.
Not only is the absence of Shiv, Kendall and Roman looking to launch the next “great medium of the Internet” (with whom the latter has been working for some time) notable, but there is also a somewhat rarefied atmosphere. the division of the family It’s like a big ghost hovering over executives of the company where the future of the company is being decided.
Another striking issue about the start of the season is that, for the first time, doesn’t start pretty much right after the end: It’s been a while (not long), but Armstrong doesn’t go wrong when it comes to presenting the new status quo, aided by Mark Mylod’s camera, like two trains on a collision course.
I won’t go further into plot matters because there are a few days left until we see this first episode, entitled ‘The Munsters’, but you can imagine if you are fans of the series that we have layers and layers of dialogues, attitudes and occasional “side conversations” that predict many stab wounds in which the sale of the company is resolved.
Furthermore, and as the protagonists of ‘Girls5Eva’ would say watching a parody of the series, we still have nasty people in beautiful places. The level of production remains accurate in an aspect that is little highlighted: sophistication, which is a language in itself. Where other productions show that people become millionaires because of the bizarre (thankfully we have something), here it is shown with what is not obvious.
Armstrong’s script also navigates like few others in one of the hallmarks of the series: that dramatic satire not without a certain humor —which at the beginning of the season continues to be explored in the “adventures” of Greg and Tom— which forms a tone as characteristic as it is difficult to imitate that keeps us going, season after season, episode after episode, wanting more of these bastard people.
We’ll have to see how the rest of the season develops (we have Roys until the end of May), but it must be bad for ‘Succession’ don’t close your journey like one of the great series no longer HBO, but what we were in the 21st century. The sharp pen, the splendid cast of nuances and a precise direction make this last season promise to put us at the feet of its creatives.
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