This New-to-Netflix Mystery Series Is ‘Knives Out’ Meets ‘Succession’

The Big Picture

• Netflix’s new series
  Master of the House
  combines
  Knives Out’
  s mystery with
  Succession
  ‘s rivalry for a thrilling watch.
• The show’s despicable characters, driven by possession, lead to disturbing and graphic scenes.
• The cinematography evokes dark subject matter, culminating in a gratifying conclusion.

Despicable rich people doing despicable things is not a concept we haven’t seen before. Netflix’s new release, Master of the House, certainly plays into this concept in a grotesquely confronting way, but it combines two well-loved ideas in a way that makes it fresh and worth the watch. Stylistically filmed, the series immediately begins with a Knives Out premise, kicking off the underhanded drama and deception with the death of the patriarch. This is cohesively woven in with scandalous Succession-like rivalry, where characters are constantly at each other’s throats, vying for the inheritance and willing to cross unimaginable lines to get their greedy fingers on it.

Fans of both series will adore this thriller, though you will need a strong stomach for it, as it becomes a provocative tale about possession adorned with visuals that are often difficult to witness. With sexual assault, murder, and manipulation, the characters are all armed with the insatiable need for ownership that is so abhorrently graphic that we may need to look away from time to time, but our diligence is rewarded with the most gratifying ending.

Netflix’s ‘Master of The House’ Offers a ‘Knives Out’ Murder Mystery

One of the earliest relationships established in Master of the House is between the head of the household, Roongroj (Teerapong Leowrakwong), and his personal attendant, Kaimook (Narilya Gulmongkolpech). It is immediately set apart from the traditional master-servant model we see among the other staff members, as Roongroj asks for Kaimook’s input during a quarrel between his sons. By simply giving her a voice, he establishes a “special” connection between the two and also lauds his power over his sons, belittling them with an inferior’s opinion. This is immediately reminiscent of Knives Out‘s Harlan (Christopher Plummer) and Marta (Ana de Armas), where Harlan is disparaging towards his greedy family members but clearly cares for Marta. However, Master of the House takes this a step further in the pilot, as Roongroj and Kaimook, shockingly, become husband and wife. But, of course, a murder mystery cannot begin without a death that all characters would benefit from, and in these films, that would be the patriarch.

Like in Knives Out, we mainly go through the whodunit plot through the perspective of the maid, while the rest of the family squabble over the inheritance and are usually aghast by what they received (or what they didn’t). Kaimook seems to be the only one who is vaguely interested in solving the murder, with even the police content to rule it an accident. As she picks up clues and scourges for camera footage, we are faced with a handful of unsavory characters who all have fitting motivations. Despite the tangled web of deception that evokes the twists and turns of Knives Out, Master of the House‘s cinematography is clean and precise, fluidly moving from scene to scene cast in moody hues. While Knives Out is thoughtful and vibrant, Master of the House is provocative and shadowy, preferring its filming style to reflect its dark subject matter.

Runroj and Naimook’s Master-Servant Dynamic Is Creepy in ‘Master of the House’

While darkness certainly permeates throughout the show, there is something distinctly sinister and creepy about Roongroj and Kaimook’s relationship. While Harlan is fond of Marta because she is genuine and guileless, completely unlike the rest of his dysfunctional family, Roongroj is drawn to Kaimook’s obedience and beauty. As we learn more about Roongroj’s tyrannical and brutal ways, his marriage to Kaimook seems more like the same master-servant agreement, but now Kaimook gets to dress up and is more accessible in his bedroom. There is a holistic portrayal of their mysterious relationship in the show’s finale — it is as deeply unsettling and profoundly inexplicable as you would expect their relationship to be, yet still elicits a gasp. But the most intriguing way to dissect their bond is through the motif of butterflies.

Roongroj’s hobby reflects his desire to own something he perceives as beautiful. He shows his appreciation through the act of pinning it down and encasing it in a glass prison with careful precision. The show plays on the link between power and beauty, as we usually see the elite carefully curate their appearances and indulge in lavish items. But Roongroj takes this further by holding a living thing captive, thus translating to how he views Kaimook. Interestingly, there are scenes where we also see Kaimook partaking in his hobby after he dies, hinting that perhaps the two aren’t so different after all.

‘Succession’ Rivalries Emerge in ‘Master of the House’

While Kaimook spends much of her screen time investigating the murder and being tormented by the family, the rest of the Thevasaitipaisarn clan compete in a rivalry that Succession fans would delight in. The back alley deals and games begin before the will is even read, particularly between the two brothers, Phupat (Charttayodom Hiranyasthiti) and Mavin (Thanavate Siriwattanagul). Everyone is vying for a hefty chunk of Roongroj’s multi-million diamond company, Theva Gems, and, like every true nepo-baby, is willing to cross lines to get it. The playing field is corrupted as blackmail firmly places one of the brothers at the helm of the empire, and naturally, below-the-belt deals, nasty jabs, and pitiless conniving ensue. This cutthroat debacle is also served with a disturbing dose of incest and numerous murders, and each culprit is elitist and arrogant enough to believe they will undoubtedly get away with it.

While Succession hosts an array of inherently unlikable characters, the show still manages to make them compelling through depth and complexity, even if a redeemable quality is nary in sight. Our obsession with the show exposes our glutton for villainy, as we invest in characters and stories to revel in the delicious drama. The characters of Master of the House may be unlikable in somewhat similar ways, but compelling, they are not. Instead, the series makes us revile them, particularly evident in Mavin’s characterization, who repeatedly sexually assaults and harasses his maids in repulsively graphic scenes. While we are hypnotized by Succession’s villainy, we are more traumatized by Master of the House‘s. But these disconcerting shots are effective in making the ending more powerful and celebratory, and we spend much of the runtime clutching onto the hope of seeing the family face their retribution.

‘Master of the House’ Is a Tale About Possession

Master of the House becomes a chilling and compelling tale about possession, as every motivation behind every decision in the household is based on taking ownership of something. The most overt example of this is the inheritance, where greed and power drive characters to head down ungodly depths just to gain a slight advantage. But greed and power also become their downfall, as the competitors are so blinded by their pride and extravagance that they don’t even realize there is another contender on the chessboard. This is inextricably linked to their desire to control the narrative around Roongroj’s death. While Kaimook is the only one actively seeking out the truth, the rest of the family members only become interested in the case when they can manipulate the facts to their advantage.

Most disgustingly, however, is when the characters try to possess other people. This is overtly done through the slave-like contract all the servants sign that strips them of autonomy and even allows the house to punish them by imprisoning them in a cage. The animalistic imagery paired with their visceral reaction is an absolutely harrowing viewing experience, and as we continue to watch the show, it’s almost as if we’ve sold our souls to this family alongside the staff. Murder and sexual assault also run rampant throughout the grounds, as masters “toy” with their staff just to prove that they are “above” them and own them. Despite all the brutality, the show also possesses us, holding our eyes captive with stunningly grim cinematography that delivers perfectly revolting images. As such, at the intersection of Knives Out and Succession is a provoking story about ownership and all the twisted forms it can manifest in that leaves us with a satisfying conclusion and rattled nerves.

Master of the House is available to stream now on Netflix in the U.S.

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