Two years after Alex Levy (Jennifer Aniston) orchestrated a merger to save the network and Bradley Jackson (Reese Witherspoon) turned herself in to the FBI, UBN finds itself in hot water once again. An asylum case is causing controversy, there are ructions with the rank and file, and rumours of a serious cover-up threaten to set everything on fire.

Streaming on: Apple TV+

Episodes viewed: 9 of 10

It’s important to remember that, while The Morning Show began in 2019 as a series focused on the #MeToo movement, dealing with serious sexual misconduct at a fictional TV network, it has always nurtured a thread of unapologetic silliness. Said thread has grown more pronounced with each passing season, as melodrama steadily edged out near-past cultural commentary as the show’s driving focus. And while these batty antics undeniably peaked at the start of Season 3 when Reese Witherspoon’s Bradley Jackson was literally fired into space, this fourth outing continues very much in the same vein, packing in an Iranian defector fleeing in Alex’s limo, a choreographed dance proposal, and even some Cold War era, behind-the-Iron-Curtain-style spycraft.

Less overtly dappy, and forming the spine of this season, is: Bradley’s inevitable return to the news desk; Alex’s (Jennifer Aniston) reinvention as a C-suite barracuda; the introduction of Marion Cotillard’s inscrutable board president Celine (she’s always been there, apparently, we’ve just never seen her before — try to go with it); Stella (Greta Lee, a clear standout)  juggling her new role as CEO with an ill-advised affair; Mia (Karen Pittman, also excellent) being shafted out of a promotion; and Yanko (Néstor Carbonell) trying (and failing) to navigate his love life.

Engaging with the pernicious rise of manosphere politics is fertile ground for The Morning Show, though punches feel pulled here…

It’s a lot. Too much, arguably, as the show has so many plot threads at this point that major characters routinely disappear for episodes at a time, emblematic of a series that has become somewhat unwieldy, weighed down by a need to service its bulging call sheet. Billy Crudup’s former CEO Corey Ellison, for example, once The Morning Show’s MVP, now feels superfluous, crowbarred into the new series in a dull The Studio-lite subplot out of reluctance to let the character go after his arc reached a natural conclusion. Meanwhile, of this year’s new additions, Aaron Pierre is underserved (and largely objectified) as Celine’s hot husband, and Jeremy Irons strikes an ill chord as Alex’s irascible, borderline abusive academic father. He strays too far into cliche as a parent who can never be pleased, while bringing to light aspects from Alex’s past that feel pat and undercooked.

Boyd Holbrook’s Brodie ‘Bro’ Hartman provides an enjoyable (if faintly caricatured) shot in the arm as a Joe Rogan-styled conservative commentator, who pushes Alex’s buttons in the service of owning the libs. Engaging with the pernicious rise of manosphere politics is fertile ground for The Morning Show, though punches feel pulled here, especially as the show’s news spotlight only covers the run up to the Paris Olympics, never venturing too close to the 2024 election and all that followed. John Hamm’s billionaire Paul Marks makes a welcome return, now on a redemption trip after trying to sell the network off for parts last season. Julianna Margulies’ Laura Peterson sadly does not, her departure taking with it most of Bradley’s more interesting character beats.

The Morning Show has endured its share of ups and downs over the years, but the show has always been at its best when the labyrinthine personal dramas orbit a more laser-focused central premise, like Mitch’s misconduct or Marks’ shady takeover bid. The Erin Brockovich-style enviro-conspiracy at the centre here, though, just feels like background noise, never really interesting enough to cut through the surrounding soapiness.

All of that said, there’s no denying that, even in a season that fizzles rather than pops, there’s something undeniably watchable about The Morning Show. Thanks to a stellar (and Stella) cast, combined with an inherently interesting premise, all dolled up in Apple’s glossy production values, it’s hard to regret the hours poured into even a lesser season. For some it will stray perilously close to And Just Like That hate-watch territory, but this remains an enjoyably undemanding time in front of the telly — even if you don’t want to admit it.

Far from the series strongest outing, this is still mildly compelling viewing thanks to a stacked cast and an inherently buzzy setting. It’s already been renewed for Season 5 and we’ll all be back for more — despite ourselves.