From Murdoch to a Theatrical Masterpiece in the Vein of Shakespeare: The Grand Finale of Succession (1/2)

A SUPER EDITOR’S CHOICE

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The creative process and background of Succession (2018-2023) have been quite tumultuous. Despite its modest beginnings, it has ultimately become a highly anticipated "hit" TV series. While the story unfolds in America, the creative team behind it consists mostly of playwrights and screenwriters from the UK, with a profound background in Shakespearean comedy. The series itself embodies the distinct British humor characterized by dark comedy and socially awkward comedy.

01 The Birth of Succession

Let's rewind to the year 2009.

Screenwriter Jesse Armstrong crafted a screenplay titled "The Murdochs," depicting media tycoon Murdoch's attempt to secure voting rights for his two young children (Chloe, Grace) born to his wife, Wendi Deng, on his 78th birthday within his news corporation. This script circulated wildly within Hollywood's production circles, but its fictionalized reality was deemed too daring for any production company to take on.

"The Murdochs" July 12, 2009, 4th draft

Columnist Frank Rich was one of the script's avid fans. Several years later, he crossed paths with Jesse Armstrong on the set of the American series Veep and suggested to HBO that Jesse be involved in a project tentatively named Imperialists. However, the project didn't come to fruition. Jesse continued to expand his research on media tycoons, giving birth to a new TV script called Successors, which focused on four siblings vying for equal voting rights on the board of their father's media company. The script caught the attention of HBO executives and director Adam McKay. After a name change to Succession, Jesse and Adam embarked on the production of the pilot episode.

02 Succession: A Modest Beginning

The cast of the pilot episode gathered at director-producer Adam McKay's home for a script reading session. It happened to be November 8, 2016, the night of the U.S. presidential election.

As the night wore on and everyone despondently learned that Trump would become the 45th President of the United States, Adam McKay, well-versed in satirical comedy, wryly remarked, "Well, folks, the good news is that Succession finally has a reason to exist."

The first season of Succession premiered in June 2018. As a summer series, HBO didn't invest much in advertising for it. Compared to other HBO shows like Barry and Insecure, it seemed as if HBO had little confidence in Succession.

03 Succession: A Core of British Television

Although the series aired on HBO and the story takes place in America, the creator of Succession, Jesse Armstrong, is British. Most of the additional writers who joined the show also had a background in Shakespearean comedy, with over half of them being British screenwriters and playwrights.

So, while we might have thought we were watching just another American TV series about corporate moguls, the core essence of Succession is rooted in the British tradition of dark comedy and cringe comedy.

04 British Comedy vs. American Comedy

British comedy maestro Stephen Fry has brilliantly summarized the humor styles of the UK and the US: traditionally, American humor stems from optimism and hope, while British humor tends to amplify failures and despair. American comedy refuses to view itself through a negative lens, whereas British comedy often concludes with the protagonist's failure.

For example, Seinfeld (1990-1997) is a classic representation of American comedy. Through sharp observations and deconstruction of life, the protagonist conquers the audience with their wit. However, in traditional British comedy, the more self-proclaimed clever the person is, the more they end up experiencing embarrassing situations.

In the British series IT Crowd (2006-2013), for instance, the protagonist ends up having to pretend to be disabled after using a disabled restroom.

Similarly, HBO's American series Silicon Valley (2014-2019), which also revolves around tech-savvy individuals, portrays many awkward situations, but the characters' fate is more positive and optimistic compared to the protagonists of IT Crowd who have no hope of advancement.

Traditional U.S. broadcast networks (NBC, CBS, ABC, FOX, CW) particularly emphasize ratings, and executives worry that if the protagonist is unlikable or has questionable values, viewers might grow disgusted and abandon the show. Therefore, traditional American TV shows follow a formula for character development to ensure the protagonist's image is beloved and relatable to the audience.

Of course, there are also American shows that break the traditional formula, such as Parks and Recreation and Arrested Development. While they have a certain following in the United States, they are still considered niche works on a national scale.

In contrast, British shows renowned for their cringe-inducing and socially awkward humor, such as I'm Alan Partridge, Peep Show, and Blackadder, do not enjoy the same level of popularity outside of the UK, but they have garnered high ratings and industry acclaim within the country.

It's important to note that the discussion of British and American humor above is a generalization. Exceptions can always be found within their respective realms.

05 Without The Thick of It, There Would Be No Succession

If you're accustomed to fixed camera shots and gentle storytelling, your initial experience of watching The Thick of It might feel like watching a poorly recorded bootleg DVD. And that's precisely the uniqueness of The Thick of It, with its pseudo-documentary immersive filming technique.

The Thick of It

Furthermore, The Thick of It shatters our illusion of a BBC English-speaking, genteel British society.

In the series, there is a person who can't stop swearing. That person is Malcolm Tucker, a PR consultant (Spin Doctor) with a strong Scottish accent, working alongside the Prime Minister.

Malcolm berates anyone he encounters, regardless of their gender, size, or appearance. In Malcolm's mouth, humans are treated equally, subjected to his impartial, ruthless, and relentless verbal abuse. If this show were placed elsewhere, it might be criticized, banned, and the writers might even face public boycotts.

These fearless British writers dare to strip away the hypocritical facade of their own people, allowing the world to see stories and characters that remain high-fidelity even after artistic processing. This is why many popular American shows are like junk fast food, leaving audiences saturated, while concise and impactful British dramas are like organic green cuisine—bitter at first but ultimately satisfying.

06 Mysterious Character History

After watching the first episode of an American TV series, you would typically know the protagonist's full name, their psychological state, their best friend, their quirks, their dreams in life, and the plot tasks they are assigned.

The most typical example is the pilot episode of Vince Gilligan's Breaking Bad. In less than 15 minutes, Gilligan lets us know the basic situation of Walter White:

His wife is pregnant, his son has mild cerebral palsy, despite winning a Nobel Prize in Chemistry, he is now reduced to teaching high school chemistry, he has to work two jobs due to financial difficulties, he has no status at home, school, or the car wash where he works. Additionally, he is diagnosed with terminal lung cancer and even with surgery, he can only live for two or three more years. Walter White is an undisputed underdog.

These initial character designs elicit sympathy and compassion from the audience, even though he later commits many heinous acts. We consciously or unconsciously find ways to "excuse" him based on both reason and emotion.

However, in comparison to the deconstruction of American dramas, what is the nature of British dramas? How does this difference shape Succession? Stay tuned for the next article, which will be my final review of all four seasons of Succession. Follow me and let me know your thoughts on this series.