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

A SUPER EDITOR’S CHOICE

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Let's continue from the previous analysis of the success of Succession (2018-2023) in its storytelling. In the previous article's ending, we discussed how American TV shows typically provide viewers with all the necessary information about the protagonist, their objectives, and so on in the first season. British writers (especially comedy writers), on the other hand, tend to be more casual. They don't even mind if the audience forms a negative first impression of the main characters and abandons the show.

In the first episode of Ricky Gervais' Extras, we are introduced to several background actors waiting on set. We don't know why the male lead wants to be an unpaid, unnoticed extra, or how long he has known the naive female lead. We wonder why he keeps such an incompetent agent.

Returning to Succession, Jesse Armstrong maintains his writing style from previous works, which is not explicitly revealing character backgrounds but implying them through dialogue and details.

For instance, in the seventh episode of the first season, Logan asks his children to go to his eldest son Connor's house for family therapy. Towards the end of the episode, there is a significant close-up shot of Logan's scar-covered back, hinting at a dark history of abuse he suffered from his uncle during childhood. This may explain why he became the Logan we see today—violence being the only language of love he understands.

You'll notice that while Succession never explicitly discloses the characters' background information, it makes us curious about the Roy family members' hidden histories.

Take Logan's third wife, Marcia, for example.

In the third episode of the first season, Shiv asks her ex-boyfriend Nate to investigate Marcia. Through this, we catch a glimpse of Marcia's background: she first appeared in Paris at the age of 31, working as a publishing assistant. Her first husband was a Lebanese businessman, and they lived a lavish life in Paris, hosting many high-end parties and mingling with artists, writers, politicians, arms dealers, oil merchants, and others. However, Marcia's identity and actions before her arrival in Paris remain a mystery, and her attitude towards Willa seems to indicate something significant. Later, Marcia tells Shiv, "If you're interested in my past, you can come to me directly," hinting at her extensive and potentially threatening connections.

Furthermore, the opening sequence of Succession, which should never be skipped, serves as a window into the Roy family's past:

An absent mother, a distant father

07 The Battle of Succession: The Boldness of its Creators

After watching critically acclaimed and satirical British shows like The Thick of It, you'll notice that Succession, an HBO Max drama series, incorporates the traditional ingredients of British comedy:

✅ Shaky handheld shots

✅ Enigmatic character histories

✅ Brutal satire (as seen in the painfully awkward rap song, "L to the OG")

✅ Profanity galore (courtesy of Logan)

✅ Unorthodox moral compasses (Roman, and others)

Roman Roy

For viewers accustomed to dramas, feel-good shows, traditional American TV, or those influenced by the media's portrayal of Old Money, it's easy and natural for us to project our own thoughts and expectations of social responsibility onto the characters. This is particularly true for Shiv, the only legitimate female heir in the Roy family, as viewers hope she can challenge the patriarchy, betray her own brother, dismantle the elderly regime, and become the strong female lead demanded by the new era.

However, British writers like Jesse Armstrong and Armando Iannucci never seek to please or cater to mainstream preferences. Their writing remains as sharp as their spines, obedient only to the inner voices of the characters and the essence of the story.

When the first season of Succession premiered in 2018, it lacked any "rootable" characters and seemed to consist of an ensemble of villains (Roman even dares to toy with the innocent child of a working-class family in the first episode). Consequently, the show received minimal attention compared to Showtime's "brainy" drama, Billions. The number of viewers devoted to Succession was extremely limited.

From its initially cold reception to its current explosive popularity in the fourth season, Jesse Armstrong has never intended to cater to the public's aesthetics and tastes just because his show became a phenomenon. Even when Succession swept the Emmy Awards and BAFTA Television Awards in its second and third seasons, and returned for its highly anticipated fourth season, Jesse calmly declared, "This will be the final season of Succession."

While everyone forgot that the first episode of the first season laid the groundwork for Logan's illness, we stubbornly believed that Logan would remain a Murdoch-like figure for another hundred years. However, in the third episode of the fourth season, Jesse delivers a striking blow, "mercilessly" killing off the generational titan, Logan Roy.

Jesse Armstrong

In an era where creators are willing to bend to capital, conform to mainstream values, break viewership records, and continue sequels indefinitely as long as there is money to be made, Succession stands as a testament to the unwavering artistry of its creator. It remains focused on serving the characters, the essence of the story, and presenting an unfiltered depiction of the real world of capitalism. As viewers, what more could we ask for?

Here's hoping that you enjoy Succession and that the final season becomes an Emmy and Golden Globe winner once again. And MAD RESPECT to Jesse Armstrong (and HBO Max). This marks my final review of Succession, from the first season to the fourth, during which I feel like I have learned a great deal from the show itself. Feel free to follow me and share your thoughts on this series.