Succession
starring Brian Cox, Sarah Snook, Kieran Culkin, Alan Ruck, Jeremy Strong, Matthew Macfadyen, J. Smith-Cameron, Nicholas Braun, Justine Lupe, David Rasche, Peter Friedman, Hiam Abbass, Fisher Stevens and an absolute Murderer's Row of guest stars
created by Jesse Armstrong (Peep Show, Fresh Meat)
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IT'S NOT LIKE I HAVEN'T GIVEN YOU PEOPLE ENOUGH TIME TO FINISH IT, ANY SPOILERS BEYOND HERE ARE YOUR FAULT, IF YOU REALLY THINK ABOUT IT
In fairness to myself, it's only been one calendar month since the initial airing of the series finale of this show, so this review isn't that late. I like to pretend I just needed time to think about it, unlike those other people who "review" things for a "living" in exchange for "money," but I get it; they're not in a hurry, they just get to watch this stuff before I do. It's the bedrock foundation of the corporate-media partnership that guarantees essentially free promotion in exchange only for access, ideas I spit upon on account of my very high principles and because nobody has asked me yet. But I'm pretty sure if it came to it, I'm in a position right now to say I definitely think I'd probably consider the high road. I declare I cannot be bought (in this hypothetical situation only myself and no money-having third parties are participating in).
In a way you could say Succession is about just that kind of corruption,* but in retrospect (and why I've waited to talk about it at all until all four seasons were finished) there isn't any corruption going on at all. Not if you take it as an active verb, as a thing that is happening. After four seasons, it's been made starkly and manifestly clear by Jesse Armstrong and the stable of best-in-class television writers and directors who hauled this thing onto its feet and made it stomp around in some very expensive shoes that there is not, in any season, storyline, character arc or even scene, an act of corrupting going on. Everyone arrives to the party well and truly corrupted, in a state of decay that is not perpetual (which is to say: moving, progressing) and more lodged, stuck, like a bullet in a kidney leaching lead into a system already ravaged by chiggers and hepatitis. It's a story that begins with a guy throwing up inside the Disney-esque mascot head he's wearing at a theme park. There aren't a lot of parts of this that aren't pretty gross.
It would be reflex-lefty of me to just wallow in the the kind of savaging that can only be served up with a mirror. Any other method for this long-term type of a beating would just end up being exhausting if it weren't self-administered, which is also how you know it was created by a British person. Americans are always looking for someone redeemable, someone we can relate to. British writers and creators are far, far more comfortable letting the aspects of the art (the language, the performance, the production design, the staging, the lighting, the choreography...) carry the viewership forward. It's not that they don't care if we don't have someone to root for, they just understand at a more basic level that "rooting" is relative. You can just as passionately want someone to succeed (ha) as you can want to see someone fall down an open manhole, if the dialogue sets it up properly. If there's a challenge, then, for the writers to solve in Succession, it's really only that there aren't enough open manholes in all five boroughs of New York to account for all the karmic backlog piling up around these people.
A more conventional show would have found a way to give us a new character making their entree into this world of top-level business and one-percent-of-the-one-percent living to orient the audience, and to watch their illusions and delusions fall away as the absurd reality of the atmosphere smothers and suffocates whatever soul they thought they'd brought with them into this biome. The best candidates are Nicholas Braun's Greg (the barfing mascot) and Matthew Macfadyen's Tom, the Midwestern outsider cradled into the bosom of the family. But neither are ever depicted as possessed of any kind of empathy-triggering naivete for anyone to identify. At best they sometimes achieve an occasionally endearing Rosencrantz and Guildenstern double-act of outsiders observing from inside, but both go on to prove, probably more than any other characters, that advancement and merit are wholly divorced from one another, and each sees the vapid, self-regarding, casual cruelty of The Family up close, and their moral imaginations can only conjur an impulse to strive for that kind of detachment themselves.
Overall, in the end, Succession is a show about competition, entirely for its own sake and with absolutely no stakes except for hundreds of billions of dollars. That sounds stupid, but honestly, once anyone gets past the point where they need to strategize or plan for the cataclysmic financial eventuality of, say, your car breaking down or getting sick for more than three days, the money becomes just a number you compare to someone else's number. Unhooked from the existential, when survival is an afterthought, what else could be the outcome but an atrophy of initiative and perspective? The brilliance of the show is that it takes the things that rich people fear about poor people (complacency, valuing the wrong things, wastefulness, idleness, venality, scheming, abuse of systems) and shows them plainly as projections from a bunch of dopes trapped and withering in a zero-sum mindset when the sums on their side already have at least nine zeroes behind them.
The performances are exemplary and the writing is superb. Those things have been said enough, so I'm not dwelling on any of them. If there's any complaint it's that most of the characters are coming from the same place, a sort of born-on-third-base obliviousness that cannot help but overestimate their own ability within a closed fish tank; a bunch of goldfish who have convinced themselves they are piranha, trying over and over to gum each other to death in the absence of anything practical like teeth. Even the ones that are meant to comment on it, probably best exemplified by James Cromwell's Ewan Roy and, oddly enough, Brian Cox's Logan Roy, neither of whom came from wealth but either indulge in a series of meaningless protests while living in the comforts afforded (in the case of the former) or continually swimming forward in pursuit of a meaningless more, like a genuine poor person would.
In the end, Logan Roy gets the best line-reading of the series: I love you, but you are not serious people. It's a one-line break from a character built on manipulation or bullying to do neither or both all at once. It's a weary criticism, a surrender, and an odd fucking thing to say from the guy who makes adults play something called "boar on the floor" for his amusement.
Alan Ruck's Connor Roy comes closest to being capable of human feelings, but in the end probably ends up making the most grandiose spectacle of himself, both personally and publicly. It's a deeply sad, rootless, self-ostracized character that gets (probably rightly, for consistency's sake) overshadowed by showier parts for Snook, Strong and Culkin.
There aren't a lot of deep insights left to excavate. A lot of what needed to be said about the show has been said. It's clearly a satire, but like most satires, a decent percentage of the audience will find it aspirational, which should be disturbing but to my mind just legitimizes its existence, its intent and the quality of its execution. The grand denouement ends in exorbitantly wealthy dipshits "losing" a self-referential game of their own devising and having to console themselves by divvying up almost $200 billion. And the last few shots are of heartbreak and emotional implosion. Like all good satire worth the time to take it in, it's fucking aggravating as shit. I dug it.
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*See what kind of master-level segues you could have access to, investor and/or advertisers?! You're missing out.