REVIEW: From – Season Four [2026]

Rating: TV-MA | Episodes: 10 | Runtime: 60 minutes
Release Date: April 19th, 2026 (USA)
Studio: MGM+
Creator(s): John Griffin

This is when they tear themselves apart.

The endgame has arrived. We knew this going into season four of “From” considering it was renewed before the premiere for a fifth and final chapter, but knowing is different than seeing. John Griffin and company might have set things in motion with the revelations that ended season three from Jade (David Alpay) and Tabitha’s (Catalina Sandino Moreno) history to the return of the Man in Yellow (Douglas E. Hughes), but now he’s providing the consequences.

I’ve discovered two things in the process. One: Griffin (who wrote/co-wrote all ten episodes) may have actually planned everything from the start. If not, he’s done a great job retrofitting most forks into connective tissue. Two: the “Lost” comparisons are growing with the introduction of an overarching game between good and evil. Sure, it’s “white” versus “yellow” rather than “white” versus “black,” but the guiding hands are similar. Now the prisoners must choose a side.

Anyone who’s been watching knows that this choice isn’t easy. Because understanding this place has the ability to lie and manipulate you into killing others as a means to earn the potential for escape might be enough to stop you from committing that murder, but it’s not enough to save you. Whereas the “voices” or the “visions” are given leeway to keep pushing doubters to their breaking point, they’ll just straight up kill dissenters refusing to comply.

It therefore comes down to a phrase Ethan (Simon Webster) relays about not “being scared to believe.” Yes, the things you see and hear might be deceptions setting you up to make matters worse, but they might also be the way you find the answers necessary to go home. So, take the swing when a hallucinatory mushroom trip (“What a Long Strange Trip It’s Been” is great TV) presents a solution. Embrace the fear and risk everything to be the hero.

There’s no time but the present as the nightmare escalates thanks to a new face of evil. While there have always been antagonistic figures beyond the “monsters” roaming the forest at night, this is the first time we see an adversary walking among the residents and not just pulling strings. Whether the day-walking Man in Yellow or newcomer Sophia (describing twenty-three-year-old Julia Doyle as “looks fifteen” is a wild swing), the rules of engagement have officially shifted.

So, while Boyd (Harold Perrineau), Donna (Elizabeth Saunders), Kenny (Ricky He), and Kristi (Chloe Van Landschoot) do their usual hemming and hawing as far as listening to Jade and Tabitha to attempt an insane suicide mission to “save the children,” Scott McCord’s Victor once again takes center stage. He’s been here for forty years, after all. He’s lived through a cycle of bloodshed that locked secrets beneath his trauma. I cannot believe he’s yet to earn an Emmy nom.

Hopefully this is the year because he’s never been better. And, without spoiling anything, we even get to see McCord play an alternate version of Victor that proves just how good his performance has been since the beginning. When he finally speaks aloud the fact that Ethan’s presence provides too much of a mirror to his own than can be ignored, we truly grasp the horror of that “worst case scenario” Boyd fears so deeply.

Then there’s also the continuation of Fatima’s (Pegah Ghafoori) pregnancy, Elgin’s (Nathan D. Simmons) guilt, and Julie’s (Hannah Cheramy) “story walker” powers. While the first two are carried through to a conclusion, the third finds itself approaching a dead end that we know will be conquered considering what was said at the end of the third season finale. We must simply wait until season five to witness how … as well as discover what it means.

For now, we can enjoy the fallout from season three that doubles as set-up for season five. There are a few deaths to cull the herd a bit (that bus really increased the cast list) beyond just the one carrying over. There are a couple new foes to contend with that may or may not be affected by the talismans. And there’s a ton of new context given to Victor’s drawings, the idea of nightmares coming to life, and the hypothesis that the souls of those who die here never get to leave.

I don’t think it can truly be judged on its own merits considering just how much it plays like the second act of a three-act conclusion, but season four definitely builds off the momentum season three reclaimed after a sub-par season two. Its clarity gets us excited for a bit more hands-on action from the figures of “good” and “evil” and its climax sets up next year’s premiere to be a violent night the likes of which many current characters have never experienced before.