Staten Island’s favorite vampires return for more misguided macabre comedy in a season that’s full of growth, change, tap dancing, and home renovation.

The vampires in What We Do in the Shadows have collectively lived thousands of years and traveled the entire globe. They’ve experienced death, sex, revolutions, and more sex; one would think that these virtuoso vampires have seen and done everything at this point. Each season of What We Do in the Shadows pushes these Staten Island bloodsuckers a little more out of their comfort zones, but the show’s latest season marks an important period of transition for everyone involved. These characters are frequently set in their ancient ways, but these new episodes prove that there’s still a lot for these vampires to learn. And a whole lot of legitimate change – not just into bats – allows for the biggest season of What We Do in the Shadows yet.

What We Do in the Shadows has increasingly experimented with serialization, but by and large it’s an episodic series that facilitates casual viewing where each entry hilariously riffs on a unique supernatural stereotype. Four seasons in, What We Do in the Shadows has earned the right to mix up its formula and the third season concluded with this tightly knit crew parting ways and headed to opposite corners of the world. This gives the new season unprecedented freedom and there are a lot of directions that these episodes could have taken. The decision to turn the clock forward a whole year initially feels like it skips over some of these characters’ most interesting adventures, but there’s instead a renewed energy that’s created through a long overdue reunion.

A year is a mere blip in the timelines of these vampires, but it’s shocking to learn how much everyone has changed while they were left to their own devices. What We Do in the Shadows doesn’t diminish everyone’s solo adventures, but the series’ fast-paced storytelling also facilitates bullet point highlights that distill what’s important from these detours. It’s genuinely sweet that this homecoming is predicated by the vampires all missing each other rather than separate inconveniences that have forced them to return to Staten Island. There are certainly moments in What We Do in the Shadows where centuries together between these characters has led them to take their relationships for granted. The vampires are enthused to return to their literal creature comforts just as much as the audience has missed these characters and has eagerly anticipated their homecoming.

The theme of change and self-improvement through this season is so pervasive that it transforms not only the characters, but even the physical spaces that they occupy. A major element of the season details Nadja’s dream to open a lavish vampire nightclub, which becomes a productive change of pace and more than just a conduit to poke fun at Blade’s Club Blood. The vampires’ Staten Island manor has always been a pleasant hub for the series, but after four seasons it makes sense to shake up the scenery before it starts to feel drab. Most of this season is either set at Nadja’s club, or connects to it in some way, which also allows What We Do in the Shadows to naturally engage in workplace comedy problems that would have previously been impossible. This also gives Kristen Schaal’s Guide character an upgraded role and she’s often effectively positioned against Nadja. This club is certainly the season’s focal point, but it’s not radical enough of a change to make What We Do in the Shadows feel like a different series. 

Nadja’s club becomes a haven for epiphanies, but her entrepreneurial efforts are far from the only changes that rejuvenate this season. Nadja’s club imbues her with a newfound confidence, yet the rest of her vampire brethren are stuck at difficult crossroads. Nandor’s mounting loneliness reaches a turning point when he decides that he’s finally ready to remarry, even if he’s missing some of the key ingredients. There’s some excellent material that properly explores Nandor’s past wives, but in fact emphasizes how centuries of narcissism have turned him into an insecure wreck. Nandor’s newest quest also flips the power dynamic between him and his unofficial life partner, Guillermo, who enters this season more sure of himself than ever before. Previously, Nandor’s disastrous romantic endeavors have been entertaining, albeit repetitive. Season four breathes fresh life into this dynamic and proves that having a soulmate doesn’t necessarily mean that you have a soul. 

Despite a lavish nightclub and a possible paramour, Laszlo arguably undergoes the biggest changes of all as he raises the baby that came out of Colin Robinson. None of the vampires in the series could be considered selfless individuals, but Laszlo has always carried the biggest ego of the lot. One of the more satisfying developments in the show’s third season is the unlikely friendship that forms between Laszlo and Colin. Season four beautifully expands upon this dynamic and it’s surprisingly rewarding as Laszlo plays the role of father for this mini monster. 

These tender moments really stand out and it’s helpful to give Laszlo more to do outside of his relationship with Nadja, who’s increasingly occupied this season with her nightclub obligations. What We Do in the Shadows has a lot of fun with the uncanny valley effect that’s applied to this rapidly growing baby. Visually, this material holds up, but what’s even more satisfying is the discussion on nature versus nurture that it triggers. This Colin-like baby emerges from the old Colin Robinson’s chest, but Laszlo is determined to raise him to be a suave protégé instead of the annoying energy vampire that they once knew.  The “Baby Colin” tease at the end of season three could have amounted to an easy sight gag with diminishing returns, which makes it so gratifying that this idea is able to prompt legitimate growth in not just Colin, but also Laszlo.

What We Do in the Shadows still has endless ammunition on how to eschew vampire stereotypes, but this new season continues to branch out and cover unique supernatural creatures like djinn, valkyries, fairies, orcs, and an extended look into wraith labor rights. Any opportunity for new lore and traditions in the series is a lot of fun and season four feels truly liberated in this sense. It’s always worthwhile when the series shines a light on new supernatural subcultures, like this season’s illustrious Night Market. This secret marketplace brings a Clive Barker sensibility to this growing world and it’s encouraging to see the show get bigger in this respect instead of scaling down. All of the extra creatures and special effects have never looked better and it’s shocking that the show has reached a point where vampires, werewolves, and witches almost feel old hat. Now that Wellington Paranormal has ended, it looks like What We Do in the Shadows is ready to pick up the slack and showcase a wider range of monsters.

It’s not uncommon for popular television shows to begin to spin their wheels in their fourth seasons, so it’s endlessly comforting that What We Do in the Shadows rises to the occasion and avoids these standard pitfalls. There’s a danger for shows of this nature to come across as increasingly glib and exaggerated, but these new episodes are the perfect mix of casual and confident. What We Do in the Shadows frequently feels effortless and comfortable in its own skin, but this shouldn’t be confused with ambivalence. In many ways, season four comes across as the strongest and most focused year of What We Do in the Shadows, which tap dances in the face of diminishing returns.

Season four of ‘What We Do in the Shadows’ premieres July 12th on FX, with back-to-back episodes, and next-day premieres on Hulu.