Jeremy Strong

The resolution of the GoJo merger unspools in the final episode of “Succession” with an exponential absurdity that stuffs every moment of its 90-minute runtime with even more shifting loyalties, power plays and brutal verbal takedowns than we have come to expect.

It’s election night, and while America is casting its votes for a right wing populist with fascist tendencies, a run-of-the-mill establishment Democrat or a delusional independent whose slogan is simply “Enough Already!”, ATN is making calls in the newsroom that challenge the very notion of democracy.

Salted freedom fries, mini sliders with toothpick flags and terrible biodynamic German wine: “Tailgate Party” finds the Roy siblings setting fire to American democracy.

The bulls—t brothers head west for a product launch at Waystar Studios in Los Angeles, with a new disastrous plan to price out Lukas Matsson by overinflating the value of the Waystar's newest pitch.

“Kill List” is ripe with subtext upon subtext, with power seesawing rapidly between the siblings, the old guard and the Swedes.

After last week’s Earth-shattering death, the tightly contained “Honeymoon States” delivers sky high stakes and searing one-liners as the siblings come home to a haunted house full of “roses and rotting corpses.”

“Connor’s Wedding,” the third episode in the fourth and final season of “Succession,” is a deceptively innocent title for the most emotionally devastating hour of “Succession” yet.

An otherwise bleak semester turned decidedly sunnier last week with the return of “Succession” for its final season.

Viewers, like Paul, are left negotiating with their own passivity, constraints and freedoms. Most strikingly, Gray doesn’t spare the audience — or himself — from this reckoning.

These emotional states evoked by Chastain are as potent an actor could desire from their observers, signaling possibly the most prominent talent in the industry today.