Sarah Snook

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.

Interpassivity while viewing is a given for media companies, and it's the reason so much of what gets made is oriented around critique rather than solution.

For all his claims of uplifting women, “Succession” makes it abundantly clear that Kendall is nobody’s ally; he’s simply the wrong person on the right side of history