Succession Ending Kendall Jeremy Strong
ManOfTheCenturyMovie Tv ‘Succession’ has secured its place among TV greats with a massive gamble

‘Succession’ has secured its place among TV greats with a massive gamble

Succession Ending Kendall Jeremy Strong

(Editor’s Note: The following article contains spoilers for the fourth season of “Succession”, up to the ninth episode. It doesn’t spoil the ending.)

In the middle of a recent conversation regarding her new movie, “You Hurt My Feelings,” Julia Louis-Dreyfus couldn’t wait any longer. She stopped her moderator, Frank Rich, and said, “God, what a season you’ve had on ‘Succession.'”

Rich, an executive producer on the HBO drama — who played the same role in “Veep” — nodded his thanks and started asking the next question, but Louis-Dreyfus wasn’t done.

“I really think killing Logan (when you did it) was inspired,” she said. “Absolutely inspired.”

Rich quickly gave credit to Jesse Armstrong, the creator of “Succession” who also co-wrote the season 1 finale of “Veep” — “for which I won an Emmy,” Louis-Dreyfus jokingly pointed out — and so in doing so, he outlined why the timing of Logan’s death proved to be so pivotal.

“The typical way to do that with a (such a major) character is on his deathbed in the final episode of the show,” Rich explained. “(But Jesse) always said, ‘I want him to die three or four episodes in whatever season that happens, so we have the runway to see what happens to these kids — who are traumatized by their father — once he’s gone.'”

“Fantastic,” said Louis-Dreyfus.

“Everyone thought it was brilliant, except Brian Cox,” Rich said, getting a big laugh from the audience.

Outspoken Cox had his say you hang up on Logan’s “early” exit, but in September we’ll see if those lingering feelings of rejection dissipate when he holds an Emmy. Season 4 of “Succession” continues to receive rave reviews week after week, expanding a cultural footprint set to grow in the days, months and years ahead. Why? The Emmys help, and so do modern viewing habits. Audiences hit their stride, often after a series is available in its entirety and the final episode airs within days.

The highly anticipated finale will certainly impact how ‘Succession’ is remembered, but what ensures the series’ enduring legacy has already happened. It was Logan’s death, way back in Episode 3. Examining how the Roy family processes the loss of their leader – and what happens after he is gone – Armstrong illustrates how the accumulation of generational wealth can put a stranglehold on American enterprise and perpetuate further troubles and infinity. Logan’s absence has an impact as much as his presence, at least in the 10 days after his disappearance and especially on his children. Whether it’s finding out what the new Logan will be like or finding commonalities between the late CEO and his potential replacements, Season 4 connects the past to the future and, in doing so, sets a cycle in motion: this is how power will come. always passed down and preserved, as long as people like Logan are in control. The final episodes become not so much the end of the series as a means of extending it.

Logan died so that “Succesion” could live forever.

As smart as it sounds now, offering L to the OG was a huge risk. Armstrong’s choice to focus the final season on how Kendall (Jeremy Strong), Shiv (Sarah Snook), Roman (Kieran Culkin), and Connor (Alan Ruck) get by without their father upended the show’s proven dynamic. For three seasons, every little boy did everything to earn a kiss from his dad. Kendall tried to oust him, thus proving himself the rightful heir. Roman tried to please him, generally doing his bidding more vile than he was. (Remember when he was held hostage in Turkey?) Shiv has sought to work with him, walking the fine line between pushing his father into new ventures and backing away from his radical ideas. Connor, well, Connor played well and got the money.

During his children’s power games, Logan was the focus of every move. He clapped one brother’s hand as he approached the other. He would plant the seeds of dissent by chewing on a new crop of crops information. Roy’s patriarch held the keys to the kingdom—and hence, the answer promised in the show’s title—but even when would-be rulers tried to outflank him, Logan was always there to block their path and bolster his place at the top. The question of who would succeed him became tied up with the question of who could defeat him.

His death, therefore, removed the king from the board and forced the remaining pieces to shuffle for new positions. This is a considerable change from what “Succession” fans have long savored. Not only does it take away Cox’s affable anger — killing off a main character is a surefire way to upset fans — but it’s a game changer: The throne, if you will, is open. The obstinate occupier has departed.

As much as integral to the story, Logan’s death also offered tantalizing closure, emotionally and structurally. The series begins with an emergency trip to the hospital. Why not end with his actual disappearance? Considering any other option requires us to step back from the nut-and-bolt construction of “Succession” and consider why the story is being told in the first place.

Brian Cox in “Succession”Courtesy of Macall B. Polay/HBO

Inspired by Rupert Murdoch and his struggling to name an heirArmstrong’s streak isn’t really about who “wins.” What has long been clear is that there are no winners. “Succession” is a tragedy, partly because of what was done to Kendall, Roman, Shiv and Connor, but also because of what the Roys (and those like them) did to the world. The story weds the personal and the professional, the private and the public, through American capitalism – specifically, what happens when one super-wealthy family wields their wealth to control the fates of millions, even billions more.

To quote another modern classic, the results aren’t great, Bob! A boy blows up a rocket. Another fires an entire company “because my dad told me to.” The third silences an assault victim. Many more moral atrocities and real crimes are hidden in “Succession”, as Armstrong makes clear what people like this are capable of – while Also clarifying what made them that way to begin with. It’s not as simple as “Logan was abused as a child and she abused his children,” but those hard truths are at the heart of the series and their effects extend from the Roy family to the world they want under their control. Armstrong and his team of writers, producers, actors and crew members want us to see it; sit with it; consider how these people affect our daily lives and how we can react.

What Season 4 has made clear is that things won’t get better once Murdoch Logan is gone. A man isn’t the problem, and his disappearance doesn’t simply wipe the slate clean—for his children, for his company, or for the world he’s painted with a hateful brush. Just look at the election: Logan’s influence led to President Mencken (Justin Kirk), a far-right white supremacist who hijacked needed votes through fear of the ATN (and some US executive interference). atn). Sure, Mencken earned Logan’s blessing while he was still alive, but now everyone is facing four more years of Logan Roy’s America even after he’s dead, if not longer. As evidenced by the real-world far-right white supremacist president, Mencken’s influence will last much longer than his tenure. The ATN will too. Logan’s creation has a devoted audience, and whoever controls the talking heads on the air can direct those viewers to do anything.

Sound familiar? If illustrating the toxic reach and incalculable impact of people like the Roys is one of the goals of “Succession”, then let us Touch the effects are another, which brings us back to the children. There has been a lot of talk about viewers’ conflicted attachment to the fates of Kendall, Shiv, and Roman (not to mention their father-in-law, Tom). It is human to empathize with people who are suffering, even if we can objectively recognize the rot in their souls. So when Logan’s death sends them all into a tailspin, it brings us closer to each of them. Connor gets married the same day his father dies. Roman grieves long enough to throw a wrecking ball on democracy, but collapses when he stands in front of his father’s casket. Shiv maybe, maybe, implodes his marriage. Kendall returns from the relatively happy state we see in episodes 1 and 2 – when he was estranged from Logan and life at Waystar-Royco – to a fiendish monster who is scheming to rule the world behind his brothers’ backs while berating his ex-wife in front of their children.

Maybe the poison yes, Indeeddrip.

Why ask us to care for adults who explicitly don’t care about us? Well, what better way is there to convey the harm caused by the father and, therefore, soon to be caused by them? When it comes to any of the Roy children finding true happiness in good faith, there’s very little hope, and that becomes clearer with each passing episode since Logan’s death. Their only option is to get as far away from their father as possible, which is exponentially more difficult when he lives only in your head. And we are right next to them. Trapped by the spectacle we can’t stop watching and trapped in an ugly world fashioned in their likeness.

Armstrong has proven, time and time again, that every member of the Roy family is too flawed to achieve serenity, not by succession, anyway. For them and for us, the only way out is to break the cycle. Otherwise whoever “wins” is also whoever loses. Season 4 doubled down on that point and I expect the series finale to drive it home like a jagged dagger to the heart. When I asked colleagues what they expected to happen in the last 88 minutes of “Succession,” most responded with a theory of history repeating itself. Whether Kendall triumphs and becomes a Logan to her own children or Shiv overcomes and does the same to her unborn child, the final season has shown how these agonizing patterns can endure, within families and within families. their company. Audiences will remember that anxious pain, just as they will remember the shock they felt weeks earlier when Logan’s death created a bridge between the past and the future—a connection between Logan, his successor, and whoever succeeds him. His departure forced us to ask: “What’s next?” And for seven long weeks, the answer came back: “Nothing good.”

God, what a season.

“Succession” releases its series finale Sunday, March 28 at 9 p.m. ET on HBO. The entire series will be available to stream on Max.

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