All 4 Succession Seasons, Ranked From Worst to Best
- Joao Nsita
- 7 minutes ago
- 20 min read
If you have ever watched a family tear each other apart over power, money, and the desperate need to be loved by someone who cannot love you back, you already understand why Succession became one of the most talked-about television shows of the last decade.
This ranking gives you everything. A complete, honest, season-by-season breakdown of what the show got right, what it stumbled on, which moments were genuinely extraordinary, and why Succession — despite running for only four seasons — earned its place among the greatest dramas in television history.
You do not need to have read every critical essay or watched every Emmy ceremony to understand what made this show special. By the time you finish reading, you will understand exactly how Succession built its world, which season to watch first if you want the full emotional impact, and why the finale remains one of the most discussed endings in prestige television.
Whether you are a long-time fan of the Roy family's spectacular dysfunction, someone who has been meaning to start the show for years, or someone who just finished the series and needs to talk about it — this is your complete guide.
Let's get into it. 👇
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What Makes Succession Worth Ranking in the First Place
Before getting into the season-by-season breakdown, it is worth taking a moment to understand what Succession actually achieved — because the ambition of the show, and how well it delivered on that ambition, is the entire context for evaluating its individual seasons.
Succession, created by Jesse Armstrong and produced for HBO, ran from 2018 to 2023. It tells the story of the Roy family: Logan Roy (Brian Cox), the aging patriarch of Waystar Royco, one of the world's largest media and entertainment conglomerates, and his four adult children — Kendall (Jeremy Strong), Siobhan known as Shiv (Sarah Snook), Roman (Kieran Culkin), and Connor (Alan Ruck) — who circle each other and their father in a permanent, exhausting, darkly hilarious battle for power, approval, and succession.
The show is a masterwork of tonal control. It is genuinely, frequently, laugh-out-loud funny. It is also genuinely devastating. Often in the same scene. The characters are morally compromised, occasionally monstrous, and completely, compulsively watchable. And the challenge the show sets itself — making viewers relate to, and even root for, people they should by rights despise — is one of the great dramatic achievements of twenty-first-century television.
Succession ran for four seasons, won seventeen Emmy Awards including three consecutive Outstanding Drama Series trophies, and ended in a way that is still being passionately debated years after the finale aired. It sits comfortably alongside The Sopranos and The Wire in any serious conversation about the greatest drama HBO has ever produced. Understanding which seasons work best, and why, makes the whole experience richer.
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4. Season 1 (2018) — A Slow Start That Builds Something Extraordinary
Where to Watch: HBO Max
What Season 1 Got Absolutely Right
This is the hardest season to evaluate because its weaknesses are real, its early episodes are genuinely difficult, and yet without it nothing else is possible. Season 1 of Succession is the foundation of one of the greatest drama series ever made — and foundations, by nature, are not always the most glamorous things.
What the first season gets absolutely right is its refusal to explain itself. Succession drops you into the world of the Roy family without hand-holding. The business politics are presented as complex because they are complex. The family dynamics are presented as layered because they are layered. The show trusts its audience to keep up, which is itself a statement about what kind of show it intends to be. In an era of prestige television that often over-explains its own premises, that confidence is immediately striking.
The performances are extraordinary from the very beginning. Brian Cox as Logan Roy is perhaps the single most impressive piece of casting in the show's history. Cox plays Logan not as a simple villain but as something far more disturbing: a genuinely brilliant, genuinely monstrous man whose capacity for cruelty is inseparable from his capacity for vision. The moments in Season 1 where you catch glimpses of what Logan might have been — what he might have given his children, under different circumstances — are some of the season's most quietly devastating scenes.
Jeremy Strong as Kendall is equally exceptional from the start. Kendall in Season 1 is a man who has spent his entire life preparing for something he is convinced he deserves and terrified he will never be given — and Strong plays that particular combination of entitlement and anxiety with a precision that makes every scene with him feel loaded. The board meeting in which Kendall officially declares his opposition to Logan, risking everything on his belief that his moment has finally come, is one of the show's great early set pieces: tense, darkly funny, and ultimately heartbreaking.
The development of Tom and Greg — Matthew Macfadyen's ambitious, self-serving Tom Wambsgans and Nicholas Braun's hapless, earnest Cousin Greg — provides Season 1 with much of its dark comedy. Their dynamic, which will grow into one of the most compelling relationships in the series, is established here with an economy and a wit that makes every scene they share a pleasure. Tom's condescension toward Greg, and Greg's willingness to absorb it in exchange for proximity to power, is one of the show's most acidly precise observations about how corporations actually work.
What Season 1 Could Have Done Better
The first few episodes are genuinely rough. The Roy family is not immediately likeable — which is intentional, and which will become a source of strength — but in the early going, the show has not yet given viewers sufficient emotional hooks to make their awfulness interesting rather than simply unpleasant. It takes patience to get through, and not every viewer has the patience the show initially demands.
Roman Roy's development is the weakest element of Season 1. He is positioned primarily as comic relief — crass, unreliable, deliberately self-sabotaging — but the richness that Kieran Culkin would later bring to the character is only glimpsed in flashes. The decision to use Lawrence Yee as a significant antagonist in the early episodes, only to effectively drop him, is the season's most obvious structural miscalculation.
The pacing in the middle portion of Season 1 is uneven. The show is still finding its rhythm — the precise ratio of boardroom machination to family dysfunction to dark comedy that will eventually make it feel irreplaceable — and there are stretches where it has not quite located that ratio.
And yet. The Emmy win for Outstanding Writing in a Drama Series — awarded even in this first, imperfect season — tells you everything about the quality of the foundation being laid. The dialogue is extraordinary from the very start. The insults, the deflections, the corporate jargon deployed as emotional armour, the way characters talk around the things they actually mean — all of it is present and functioning beautifully in Season 1. The show earned that Emmy.
Season 1 Verdict: A difficult but essential beginning. The weakest season of Succession, and still better than most drama on television. Patient viewers who commit to the slow burn of the early episodes are rewarded with a world that will pay them back enormously over the seasons that follow.
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3. Season 3 (2021) — A Complex, Rewarding Bridge Between Two Masterpieces
Where to Watch: HBO Max
What Season 3 Got Absolutely Right
Season 3 of Succession arrives with enormous expectations. Season 2 ended with what felt like the beginning of a war — Kendall's public betrayal of Logan, his declaration of everything he knows, the blinding flashbulbs and the expression on his face as he finally, finally does the thing — and Season 3 had to reckon with what that moment actually meant for both the show and its characters.
What Season 3 gets right, and gets right brilliantly, is its fundamental honesty about power. The most important thing this season understands is that when Logan Roy is in the field, there is no battle. Kendall believes he has the upper hand. He does not. Logan has always had the upper hand. He always will. And watching Kendall discover this — watching his confidence collapse, watching the coalition he believed he had assembled dissolve under the pressure of his father's superior resources and superior ruthlessness — is one of the most psychologically precise character arcs Succession ever produced.
The introduction of Alexander Skarsgård as Lukas Mattson is Season 3's most significant creative contribution to the show's larger architecture. Mattson — the tech billionaire whose GoJo streaming platform is positioned as either Waystar Royco's saviour or its gravedigger, depending on the moment — is one of the great supporting characters in the series. Skarsgård plays him with an eccentricity that reads as genuine rather than performed, a man so accustomed to getting exactly what he wants that the social mechanisms designed to smooth human interaction have simply atrophied from disuse. He is fascinating, and his introduction here seeds everything that will bloom so magnificently in Season 4.
The season's treatment of Tom is where it operates most quietly and most effectively. Where Kendall's self-confidence leads him into humiliation after humiliation, Tom's self-effacement and compliance — his willingness to absorb punishment, to shrink himself in Logan's presence, to become genuinely useful rather than positioning himself as powerful — is rewarded in ways that the season's finale makes devastatingly clear. The contrast between Kendall's strategy and Tom's is one of the most precise observations the show ever made about how power actually operates in institutional settings.
Roman Roy has his best season yet in Season 3. Kieran Culkin finally gets material that allows him to explore the full complexity of Roman's character — the compulsive self-sabotage, the genuine intelligence lurking beneath the cruelty and the clowning, the deep psychological damage that makes his relationship with Logan simultaneously his greatest wound and his most reliable source of purpose. His performance across Season 3 is the first indication of just how extraordinary Culkin will be in the final season.
The finale — "All the Bells Say" — is among the show's great episodes. The trap Logan springs on his children in Tuscany, his cold and complete betrayal of their attempt to wrest control from him, is handled with devastating economy. And the final image of Kendall — genuinely at his lowest, genuinely unsure whether he wants to continue — is one of the most quietly devastating moments in the series.
What Season 3 Could Have Done Better
Season 3 is, structurally, a bridge between Season 2's explosive conclusion and Season 4's extraordinary finale. That is not a criticism — great bridges are necessary and valuable — but it means the season sometimes lacks the propulsive momentum that defines the show's best work. The middle portion in particular, as the corporate legal battle settles into a holding pattern, loses some of the velocity that the finale then has to rebuild.
The season does not quite provide the closure or catharsis of its surrounding seasons. After the emotional devastation of Season 2's finale, and given the emotional devastation that Season 4 will deliver, Season 3 occupies an in-between position — more cerebral and less visceral than the seasons around it. It won three Emmys from twelve nominations, including Outstanding Drama Series and Supporting Actor for Matthew Macfadyen, which reflects both its genuine quality and its relative restraint compared to what the show would become.
Shiv's characterisation in Season 3 is also slightly uneven. The show is clearly building toward a darker, more self-interested version of the character, but the transition from the Shiv of Season 2 to the Shiv of Season 4 is handled with less finesse here than the arcs of her brothers.
Season 3 Verdict: A rich, intelligent, and frequently brilliant season that earns its place in the Succession canon while deliberately withholding the catharsis that the seasons around it provide in abundance. Not the show at its most exhilarating — but absolutely the show at its most architecturally precise.
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2. Season 2 (2020) — The Funniest, Most Chaotic, and Most Beloved Season
Where to Watch: HBO Max
What Season 2 Got Absolutely Right
There are seasons of television that define a show in the popular imagination — seasons that, when people think of a series at its best, are the ones they picture. Season 2 of Succession is that season. It is the season that turned a critically acclaimed but modestly watched drama into a genuine cultural phenomenon. It is the season with "Boar on the Floor." It is the season with Kendall's rap. It is the season with Tom and Greg in the "Safe Room" and the reading of Tom's emails and the cruise ship scandal and a finale that left viewers completely speechless. It is, to put it simply, the season where Succession became Succession.
The show's comic energy reaches its peak in Season 2, and the pairing of Tom and Greg is at the center of that. The two of them — bumbling through the cruise ship scandal, navigating their complicity in corporate wrongdoing with equal parts terror and absurdism — generate some of the most purely funny television of the decade. Their dynamic in the "Safe Room" episode, trapped together in a crisis that neither of them created and neither of them knows how to navigate, is comedy writing of the highest order. And the scene in which Tom's emails are read aloud — revealing his desperate, obsequious, unintentionally hilarious private communications — is one of those moments of television that you can describe to someone who has never seen the show and still make them laugh.
Connor's expanded role in Season 2, as his presidential ambitions begin to take shape, provides the season with some of its best ongoing comedy. The joke of Connor Roy running for President of the United States — a joke that the show commits to with extraordinary deadpan conviction — is one of the great recurring gags in the series, and its full implications will only become clear in Season 4.
But beneath the comedy, Season 2 is about Kendall at his most tragic. After the incident that closed Season 1 — the accident, the body in the water, the secret that Kendall now shares with his father — Logan has something on Kendall that is absolute. And watching Kendall be remade into Logan's instrument, stripped of the autonomy and the ambition that defined him, is genuinely devastating. Jeremy Strong plays this period of Kendall's life with extraordinary restraint: a man who has had something essential in him extinguished, going through motions he no longer believes in, waiting for something — anything — to make him feel real again.
The season's best episode outside the finale — "Tern Haven," in which the Roy family visits the Pierce family's estate to discuss a potential acquisition — is a masterclass in sustained dramatic tension disguised as social comedy. The clash of the Roys' particular brand of aggressive, self-aware dysfunction against the Pierces' brittle, performative liberalism is both hilarious and richly revealing about both families. Every character is illuminated by the collision.
And then there is "This Is Not for Tears" — the finale. The yacht. The moment when Kendall, after episodes of compliance and subjugation, does the thing. His public betrayal of Logan, the press conference, the expression on his face as he finally commits — is one of the great set pieces in prestige drama history. The season earned its Emmy for Outstanding Drama Series and its Emmy for Lead Actor (Jeremy Strong). Both were absolutely, unambiguously warranted.
What Season 2 Could Have Done Better
Season 2 is so confident and so entertaining that its weaknesses are easy to overlook — but they exist. The cruise ship scandal, while generated some of the best comedy in the season, occasionally loses narrative focus in the episodes where it dominates. A few storylines involving secondary characters feel like they exist primarily to create space for the main ensemble rather than to develop their own internal logic.
The season's pacing, while generally excellent, has one or two episodes in the middle stretch that rely slightly too heavily on the Tom and Greg dynamic to carry the comedy load while the main narrative repositions. That is not a significant failing — Tom and Greg are more than capable of carrying any amount of weight — but it is a moment where the seams are briefly visible.
Season 2 Verdict: The most purely entertaining season of Succession and the one that created the show's cultural moment. If Season 4 is the masterpiece, Season 2 is the season everyone fell in love with — the one that made people call their friends at 11pm to say "you have to start this show right now." It is television at its most addictive, most funny, and most heartbreaking.
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1. Season 4 (2023) — The Greatest Season of Television's Greatest Family Drama
Where to Watch: HBO Max
What Season 4 Got Absolutely Right
Season 4 of Succession is a masterpiece. That word is not used lightly here — it is used because no other word is accurate. This final season of Jesse Armstrong's extraordinary drama is the culmination of everything the show spent four seasons building toward: the death of the father, the battle for his legacy, the revelation of each sibling's fundamental character under the most extreme possible pressure, and a conclusion that manages to be both completely unexpected and completely inevitable. It is one of the great final seasons in the history of the medium.
The decision to kill Logan Roy in the season's third episode — "Connor's Wedding" — is the single most audacious creative choice the show ever made. Logan's death had been predicted by fans and critics for years. The question was never whether it would happen but when and how, and the expectation was that it would be a set piece: a climax, a confrontation, a moment of theatrical gravity commensurate with the enormity of the character. Instead, Armstrong and his writers kill Logan offscreen, on a plane, while his children are reachable only by phone, unable to be present, unable to say the things they needed to say, unable to do anything except listen to a call from an attendant who cannot tell them whether their father is breathing.
The episode is one of the great pieces of television ever made. The performances — Strong, Snook, and Culkin, each processing the death of their father on a phone while at a wedding, in front of people who do not yet know, while being unable to reach each other emotionally despite sharing the same physical space — are among the finest work in the careers of three exceptional actors. The tracking shot that follows Kendall through the event as the news begins to settle is a piece of direction that will be studied in film schools for decades. "Connor's Wedding" is not just the best episode of Succession. It may be one of the ten best episodes of television ever produced.
What follows Logan's death is equally extraordinary. Season 4 becomes, after "Connor's Wedding," a story about three siblings trying to hold on to their father's legacy — to his company, his power, his approval, which they discover they cannot stop seeking even now that he is no longer alive to withhold it. Each of them handles the grief differently, and each of those responses reveals their fundamental character with a precision that feels like the culmination of three seasons of careful, patient observation.
Kendall reignites. His passion to be the CEO of Waystar Royco returns with a force that has the quality of compulsion — a man who cannot stop trying to become something because trying is the only identity he has ever had. His journey through Season 4, his willingness to sacrifice everything for a goal that keeps receding, his choice in the finale to betray his siblings for a chance at his father's chair — all of it is handled with extraordinary emotional intelligence by Strong, who delivers a performance that is the finest work of his extraordinary career.
Roman tries to dismiss his grief and fails. Kieran Culkin, who had been building toward this season for three years, delivers a performance in Season 4 that is simply one of the best pieces of acting in recent television history. The moment at Logan's funeral — the eulogy that Roman cannot finish, the breakdown that he tries to pass off as laughter that then refuses to stop — is a scene that devastates completely and irreversibly. Everything that has happened to Roman, everything the show has told us about him, converges in that moment. There is no recovery from it. Culkin was awarded the Emmy for Outstanding Supporting Actor in a Drama Series, and it was not even close.
Sarah Snook's Shiv completes her moral journey in Season 4. She has been self-interested and calculating across the entire run, but Season 4 makes clear that these qualities, in her, have calcified into something permanent and defining. Her decision to side with Mattson, to hold on to a position of power within the new structure even at the cost of everything else, is handled with the kind of honest, uncomforting clarity that defines the show at its best. Snook won the Emmy for Outstanding Lead Actress in a Drama Series — her first — for work that is arguably the finest sustained character performance in the series.
The finale — "With Open Eyes" — is a perfect ending. It does not give the characters what they want or what the audience wants for them. Tom, not Kendall, is confirmed as the new CEO of Waystar Royco. Shiv, who had set this in motion, finds herself trapped in a marriage she agreed to continue for strategic reasons, reaching for her husband's hand in the final image with an expression that contains entire seasons of longing, calculation, and something that might be despair. Kendall, who sacrificed everything, receives nothing. Roman, who had been capable of genuine change in the moments immediately after Logan's death, has retreated entirely. The show ends not with a bang or a whimper but with something more devastating than either: a recognition that these people, for all their wealth and intelligence and capacity for occasional genuine feeling, are going to be exactly who they always were. The circle closes. The show is done.
What Season 4 Could Have Done Better
Season 4 is so close to perfect that its weaknesses feel almost beside the point — but intellectual honesty requires naming them. Connor's storyline, while providing consistent dark comedy throughout the season, resolves in a way that does not quite match the emotional weight the show has been building around him since Season 1. Alan Ruck does excellent work, but the character is given a slightly rushed conclusion given his eight-episode setup.
The "America Decides" episode — in which the Roy siblings make choices that aid the fascistic Jeryd Mencken's presidential campaign — is among the most politically charged in the show's run and generates the most sustained discomfort. It is deliberately designed to show the siblings at their moral nadir, and it succeeds, but the episode demands a particular kind of engagement that not every viewer will find rewarding.
Season 4 Verdict: A masterpiece without qualification. The finest final season of a prestige drama since The Sopranos, and the definitive statement of everything Succession was always trying to be. Season 4 earns every one of its six Emmy wins, including Outstanding Drama Series, Lead Actor (Culkin), Lead Actress (Snook), and Writing. It is television at the highest possible level.
The Legacy of Succession: What It Means for Television
Four seasons. Seventeen Emmy Awards. Three consecutive Outstanding Drama Series victories. And a finale that split audiences beautifully down the middle — not because it was bad, but because it was brave enough to deny everyone exactly what they wanted while giving them something much more honest.
Succession's legacy is the legacy of a show that trusted its audience completely. It trusted them to follow complex financial and political machinations without over-explanation. It trusted them to care about deeply flawed, often monstrous characters without being told to. It trusted them to sit in the discomfort of a finale that did not resolve anything — that ended the way life ends, with the people who deserved to win losing and the people who were willing to pay the worst possible price getting something that looks like victory and feels like nothing.
Jesse Armstrong created something that will be discussed and debated and rewatched for as long as people care about what television can do. The Sopranos invented prestige television's modern grammar. The Wire proved it could carry the full weight of social observation. Succession proved it could do all of that while also being the funniest show on television. That combination — the tragedy and the comedy, the darkness and the warmth, the characters you despise and cannot stop loving — is Succession's irreplaceable contribution to the art form.
Watch it. All of it. Start from the beginning, give Season 1 the patience it asks for, and don't look away.
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10 FAQs About Succession — All Four Seasons
1. Do I need to watch all four seasons of Succession, or can I skip to the later ones? You absolutely need to watch all four seasons, in order, beginning with Season 1. The show is entirely dependent on accumulated emotional investment — the reason Season 4 is so devastating is because of everything that was laid down in Seasons 1, 2, and 3. Skipping ahead is the equivalent of reading only the last chapter of a novel. You will understand the words but miss everything that makes them mean something.
2. Why is Succession considered one of the greatest dramas ever made? Succession achieves something extraordinarily rare: it is simultaneously the funniest show on television and one of the most emotionally devastating. It humanizes characters who are, by any reasonable moral standard, terrible people — and it does so without excusing them. The writing is among the sharpest in television history. The performances are consistently extraordinary. And the show ends in a way that is both completely surprising and completely earned. That combination is what places it in the company of The Sopranos and The Wire.
3. Who is the best character in Succession? This is the question that defines Succession fandom and admits no agreed answer. Logan Roy is the gravitational center of everything, and Brian Cox's performance is irreplaceable. But Kieran Culkin's Roman is the character who most fully reveals the show's emotional intelligence — a figure of cruelty and self-destruction who is also, somehow, the character you most want to rescue. Jeremy Strong's Kendall is the show's tragic hero in the classical sense. Sarah Snook's Shiv is its most morally complex figure. All of them are correct answers.
4. Is the Succession finale satisfying? This depends entirely on what you were hoping for. If you wanted Kendall, Roman, or Shiv to win — to take their father's place, to vindicate their suffering, to get something for everything they gave — the finale will feel brutal. If you were watching the show as a story about what wealth and ambition do to people who have never had to develop genuine interiority, the finale is perfect. Jesse Armstrong chose honesty over catharsis, and the result is a conclusion that becomes more satisfying the longer you sit with it.
5. How many Emmys did Succession win in total? Succession won seventeen Emmy Awards across its four-season run. It won Outstanding Drama Series three consecutive times — in 2020, 2022, and 2023. Individual acting wins include Jeremy Strong (Lead Actor, 2020), Matthew Macfadyen (Supporting Actor, 2023), Kieran Culkin (Supporting Actor, 2023), and Sarah Snook (Lead Actress, 2024). The show is among the most Emmy-decorated dramas in the history of the awards.
6. Is Succession based on a real family? Succession is fiction, but it draws clear inspiration from several real-world media dynasties — most notably the Murdoch family, who control the News Corp empire. Creator Jesse Armstrong has acknowledged this influence while being careful not to describe the show as a direct portrait of any specific real family. The Roys are fictional, but the dynamics of wealth, inheritance, and power they embody are entirely real.
7. Is Succession appropriate for younger viewers? Succession is rated TV-MA and contains strong language, adult themes, sexual content, substance use, and sophisticated political content. It is not appropriate for children or young teenagers. The show's primary audience is adult viewers with an interest in character-driven drama and complex social satire.
8. Is there going to be a Succession spinoff or sequel? As of 2026, no Succession spinoff or sequel has been officially confirmed. Jesse Armstrong has been deliberately non-committal on the subject, and the show's ending — which closes its story with a specific kind of finality — makes a sequel feel structurally difficult. Fans remain hopeful, and HBO has not ruled anything out, but nothing is currently in production.
9. What is the single best episode of Succession? "Connor's Wedding" — the third episode of Season 4 — is the critical and fan consensus pick for the single greatest episode of the series, and one of the greatest individual episodes in television history. Logan Roy's death, handled entirely off screen via a phone call while his children are unreachable and helpless at a wedding, is a piece of television writing and direction that is studied and discussed years after its original airing. The performances from Strong, Snook, and Culkin are devastating.
10. Where can I watch all four seasons of Succession? All four seasons of Succession are available to stream on HBO Max. The show is also available for digital purchase on Amazon Prime Video, Apple TV, and other major digital retailers.
External Resources for More Great Television Coverage:
Rotten Tomatoes — Succession All Season Scores — Aggregated critical and audience scores for every season of Succession.
IMDb — Succession — Full cast, episode listings, awards history, and audience ratings across all four seasons.
The Hollywood Reporter — Succession Coverage — Award coverage, cast interviews, creator discussions, and critical essays on the full series run.
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