8 September 2023

Kendal Roy (Jeremy Strong), Shiv Roy (Sarah Snook) and Roman Roy (Kieran Culkin) in the “Succession” series, created by Jesse Armstrong.


When it came to publishing the death announcement of Succession, a few weeks before the premiere of the fourth season on HBO, Jesse Armstrong, the British creator of this very American series, chose to express himself in the New Yorker, weekly magazine of the East Coast intelligentsia, rather than in variety or in the Hollywood Reporter, Hollywood trade publications that his peers would have chosen. It is true that, in five years of existence (the first episode was posted on June 3, 2018), Succession has become the object of all intellectual and cultural fascinations, able to inspire the editorial writers of business daily newspapers as well as fashion columnists.

Read also: Article reserved for our subscribers “Succession”, season 3: the exquisite and repugnant spectacle of the misfortune of the very rich

The ten episodes that we will begin to discover on March 27 will therefore be the last. Jesse Armstrong has announced that, at the end of the season, he will have done justice to the title: we will know what happened to the media empire of patriarch Logan Roy (Brian Cox), which not only the three children of his second wife, Kendall (Jeremy Strong), Siobhan aka Shiv (Sarah Snook) and Roman (Kieran Culkin), but also the great lords of the estate and investors of all kinds attracted by a tumultuous end to their reign.

A season that promises to be one of the great finals in the history of the series, on a par with those of Sopranos or of madmen. For now, HBO has released the first four episodes in spades, accompanied by a plea from Jesse Armstrong not to spoil anything. The announcement made by the creator of Succession casts a tragic shadow over what had become a bitter and, admittedly, somewhat repetitive comedy. The Roy children’s maneuvers to make their father finally let go failed, again and again, whether they were individual or collective.

Balanced tempo

Instead of starting at a frenetic pace, like the previous ones, the fourth season slips voluptuously into a bath that we believe is a familiar moment. The trio of wealthy disinherited pretend to be interested in a common project that would tear them out of the paternal orbit, while watching for all the opportunities that would allow one or the other or one to get back in the race. for the management of Waystar Royco, the trust founded by Logan Roy. Meanwhile, their father – convinced that only cruelty and Machiavellianism can keep old age and death at bay (Never has Brian Cox’s Shakespearian DNA been so evident) – accelerates the despoliation as much as he can. of his children.

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