Billions (TV Program)

A certain redheaded maniac returns to the scene for the series’s concluding season. Let the final showdowns begin.Season 7, Episode 1: ‘Tower of London’He’s back.Bobby Axelrod, the hard-charging, take-no-prisoners billionaire who served as the antagonist-cum-co-protagonist for the first five seasons of “Billions,” returns at the end of the show’s seventh and final season premiere. Like a demon out of an esoteric’s grimoire, Axe (Damian Lewis) been summoned by three of his closest associates — Wendy (Maggie Siff), Wags (David Costabile) and Taylor (Asia Kate Dillon) — to rise from legally mandated oblivion in order to defeat a devil far worse than the devil we know.That devil is Mike Prince (Corey Stoll), who served as the stand-in during the show’s sixth season for the role once played by Axelrod. A breed apart from his predecessor, he spent the bulk of Season 6 as something of a do-gooder … to an extent.Prince created a universal basic income program known as Mike Money — but the program was paid for by untaxed cryptocurrency, which believe it or not was once viewed as the wave of the financial future. He tried to bring the Olympics to New York City — though as any resident of a host city can tell you, that’s stretching the definition of “do-gooding” quite a bit, given the tax incentives and indigent sweeps typically preceding the Games.Most important of all, though? Mike Prince is running for President of the United States of America, sooner rather than later. (Perhaps because this is now the show’s final season, his timeline has been accelerated from 2028 to, gulp, 2024.) As he tells Wendy in the episode’s quietly chilling opening scene, he is doing so because he believes only he has the gimlet eye and the force of will required to save the dying nation from itself. If the people scream for mercy as he rescues them? Let them scream, he says. He knows best.In a maneuver that places Wendy at the center of the action in a way she hasn’t been in years, the premiere casts her as the Christopher Walken character in “The Dead Zone” — the person who sees most clearly that Prince is literally a Hitler-quoting clear and present danger to the republic and the world at large. Even as she strings him along, promising to performance-coach him all the way into the White House, she has decided to work toward his downfall.She’s hardly alone in that. In order to clear the decks for his coming campaign, Prince has stepped back from the day-to-day operations of Prince Capital. He’s got not one but two major-domos, Wags and Scooter (Daniel Breaker), to serve as his eyes, ears and voice. He has the absurdly intimidating and unflappable Kate (Dola Rashad) to serve as his legal mind. And as far as he’s concerned, he has his successors, the young(ish) brainiacs Taylor and Philip (Toney Goins) to run the place in his stead, ensuring that the money keeps rolling in.But Taylor and Philip don’t see this as a promotion. They see it as the deliberate dismantling of Taylor Mason Carbon, the independent in-house shop they had dedicated to E.S.G. (environmental, social, and governance) investments. You know, the kind of do-gooding Mike Prince was once interested in?For Prince, though, having a separate carve-out within his empire indicates that the empire itself doesn’t care about these issues, and he cannot allow himself to be seen as someone who doesn’t care. By sunsetting Taylor and Philip’s shingle and putting them, his smartest people, in charge of the whole operation, Prince hopes he can kill two birds with one stone.But all the while, Wendy — terrified of Prince’s dark potential after a chilling tête-à-tête in which the depths of his egomania are revealed — is mounting a counteroffensive. Though Axe’s best bud, Wags, and his merciless lawyer Orrin Bach (Glenn Fleshler) plead ignorance as to Bobby’s whereabouts, Wags nevertheless gets a message to his old master. Axe then relays his willingness to entertain their request for help via a trade pattern only an old associate like Taylor’s pal Mafee (Dan Soder) can spot. (With the help of the best legal weed New York money can buy, naturally.)So, in a meeting before the bright lights of the Tower of London, Wendy and Wags and Taylor — and we in the audience — are reunited with the redheaded stepchild of the series. Never one to let a 1970s New Hollywood Cinema movie reference go unstated, Bobby Axelrod compares the crew here assembled to Luke, Leia, and Chewbacca, leaving himself as both the Han Solo and the Millennium Falcon. Let the war against the emperor commence!But there’s a second front opening up in the war on Prince. Though he’s both down and disgraced, to the point where his adolescent children no longer want to be seen eating with him in public, Chuck Rhoades is by no means out. At the end of last season, he accepted exile from the legal community and extensive legal troubles of his own as the cost of helping his colleague, Attorney General Dave Mahar of New York (Sakina Jaffrey), take Prince down.But c’mon, this is Chuck we’re talking about here. You think he’s going to sit idly by as his reputation is dragged through the mud to the point where his own kids are embarrassed by him? With the help of the obnoxious journalist Lucien Porter (Matthew Lawler), he becomes the beneficiary of a P.R. campaign in the press that paints him to be a Robin Hood figure — the lone man willing to stand up to the billionaire class with deeds rather than mere words, and who paid for it by losing his government jobs not once but twice.The resulting turnaround in the public imagination might well be Chuck’s masterstroke to date. Suddenly this old-money Yalie’s fever dreams of being championed by the socialist likes of Bernie Sanders and Alexandria Ocasio-Cortez don’t seem so far-fetched. Sure, it irks Dave, who all but tells him their nonaggression pact is off by episode’s end. But to Chuck’s mind, she didn’t tell him what her full plan was, so why should he return the favor?All of a sudden “Billions” has a sense of urgency it hasn’t had since the really monomaniacal days of the Chuck/Axe conflict. Keep in mind that this episode begins with a five-months-later flash-forward in which an enraged, borderline psychotic Prince storms into his place of business, tracks down Wendy and shatters the glass walls of her office, demanding to know what it is that makes her so sure he shouldn’t be president. In that act, he answers his own question.Considering the time of its creation — pre-Brexit, pre-Trump, pre-Bernie and A.O.C., pre-Covid — “Billions” has been fairly adept at keeping pace with the times. The one-two punch of Clancy Brown’s good-old-boy attorney general Jock Jeffcoat and Danny Strong’s sleazeball treasury secretary Todd Krakow demonstrated the series’s deftness at reflecting its surroundings. But it’s inarguable that the political and economic reality of America and the wider world has gotten weirder, faster, than even Hollywood’s brightest minds could conceive.So kudos to the “Billions” team for drilling down on perhaps the most important lesson to be drawn from the past seven years: The mega-rich are freaks, and belong no closer to the levers of power than a chimpanzee to the controls of a Ferris wheel. Aligning virtually all the characters we like against the embodiment of all the cultural trends we don’t — from naked oligarchy to progressive lip service — is unbelievably shrewd. That this season is airing as the working writers and actors who make “Billions” possible man the picket lines against Hollywood’s ruling class makes it all the more pointed and poignant.Long one of the most purely entertaining shows on television, “Billions” has always preferred to let its message about the robber barons who rule our world play out amid the beats of a well-made financial thriller over the more direct and unmissable approach preferred by heavy-handed satires like “Succession” and “The White Lotus.” If what we’re seeing in this premiere holds true for the series’s remaining episodes, though, the show seems to have well and truly gotten religion at last. It will spend its final hours depicting our heroes, and many of our villains too, battling to prevent a dictatorial billionaire from becoming the leader of the free world.Loose changeWith his clipped American accent, crisp body language and twinkling eyes that radiate both mirth and malevolence in equal measure, Lewis’s Bobby Axelrod is legit one of the great character creations of the Peak TV era. I’m so glad to have him back.For that matter, Giamatti has always made Chuck’s contradictory blend of for-the-good-of-the-Republic earnestness and knife-in-the-back craftiness sing. And hey, let’s also give props to Siff’s investment of Wendy with hard-earned arrogance and Stoll’s portrayal of Prince as the kind of maniacally self-confident weirdo you only find in finance, tech, politics or an unholy amalgam of all three.My fave real-world cameos in this episode: the billionaire Mark Cuban and the former Obama/Clinton communications director Jennifer Palmieri. I’ve never been quite sure what to make of the show’s visits by the actual rich and powerful, given how I feel about their equivalents within the series, but it’s undeniable that they’re part of that old “Billions” charm.Another special shoutout must be reserved for Kelly AuCoin’s gleefully profane “Dollar Bill” Stearn. Though Taylor and Philip dislike Dollar Bill’s attitude (the feeling is mutual), they recognize that he’s the kind of earner they need to boost company profits, and thus keep Prince happy, while they secretly work to thwart their boss’s ambitions.The funniest bit about Dollar Bill’s return? The only guy who’s happy to see him is Victor (Louis Cancelmi), the only trader with even fewer scruples than Dollar Bill himself.“Billions” showrunners and music supervisors, hear my plea: It is not too late to score an epic scene with the appropriately named pre-“Dark Side of the Moon” Pink Floyd psych-rock juggernaut “Careful with That Axe, Eugene.” Granted, you might have to insert a character named Eugene to balance the “Axe” part, but I’ve come to trust in your ingenuity.As a fan of professional wrestling, or as I like to call it, “The Sport of Kings,” I found it very funny to hear Cuban refer to himself as “a Terry Funk guy.” The Funker, if you’re not aware, is the god of hardcore wrestling, the subgenre that involves barbed wire, razor blades, and gallons of very real blood. No wonder this dude helped run the Shark Tank.Male nerds of a certain vintage have long resigned themselves to the idea that there are two types of guys in the world: Luke Skywalkers (noble, incorruptible babyfaces) and Han Solos (roguish, unpredictable antiheroes). It’s revealing that even as he’s being called in to defeat the show’s Darth Vader equivalent, Axe refers to himself as Han rather than Luke.While we’re on the subject, this means Taylor is Luke (the chosen one gifted with special mind powers), Wendy is Leia (the steely commander who’s also a pale brunette knockout), and Wags is Chewie (the sidekick defined by his specific brand of hirsuteness). More

Prince’s grand plan is revealed. Chuck is less than impressed.Season 6, Episode 11: ‘Succession’“Michael [expletive] Prince is running for president.”There you have it, as summed up by Chuck with all his usual verbal panache. After a season of oblique references and sotto voce hints, Mike Prince’s grand plan beyond all his other grand plans is revealed, with a bumper sticker reading “I LIKE MIKE 2028.” Behind the seizure of Axe Cap, behind the creation of the Prince List, behind the moonshot play for a New York Olympic Games, behind this episode’s introduction of universal basic income in the form of Prince-funded “Mike money,” behind every hard-to-parse interaction with his right-hand man, Scooter, and his wife, Andy, there it is. Mike Prince, billionaire, wants to become Mike Prince, president of the United States of America.You can all but feel the shock waves roll through the characters who wise up to this plan in real time. For starters, there’s Wags, who brought Prince a plum deal with the Chinese government only to watch the bossman blow it up as publicly as possible over human rights violations, and who wonders why Prince would offer a job to Chuck Rhoades, of all people. The move against China is an attempt to carve a path as an ethical billionaire; the job offer is an attempt to take an enemy off the board for good.Then there’s Taylor and Philip, the characters who theoretically give this episode, “Succession,” its title. (I’m inclined to believe it’s a cheeky reference to television’s other tale of the lifestyles of the rich and shameless; it’s a bit like that meme of the two Spider-Men pointing at each other.) They spend most of the episode jockeying for position as Prince’s heir apparent, although neither can quite fathom why he has chosen to name a successor at all.Taylor’s pitch involves the proverbial “move fast and break things” approach. Philip’s approach is more methodical. But when the dust settles, both of these wunderkinds realize they’re better off presenting themselves as a team of two, in which the strengths of one complement those of the other. This seems to free up space in their brains to finally puzzle out the why of Prince’s maneuver, and that why comes emblazoned with the presidential seal.Finally, there’s Chuck and Dave. Rhoades has set up shop in an old office straight out of “Mad Men” — complete with an aging secretary rumored to be one of the boss’s sexual conquests — maintained by his father for tax purposes. It is here that he is ensconced when his latest move against Prince — a digital billboard outside Prince’s home that gives a running tab of his personal fortune — becomes a viral sensation. It is here where Scooter and Kate Sacker come to encourage Chuck to join Prince’s team, an offer he predictably declines.When Prince’s “Mike money” plan is rolled out, ostensibly with the Brooklyn borough president (played by Joanna P. Adler) on board, Chuck encourages Dave to pull the plug by reclaiming all the land Prince bought in service of his Olympic bid, on the grounds that with the Games no longer in play, he is violating the compact under which he purchased the parcels.It ought to be a kill shot since Prince had been counting on leveraging the land and a private-public partnership to bankroll his universal basic income scheme. But Prince then makes the very un-billionaire move of promising to fully fund the “Mike money” initiative himself. When Dave and Chuck put their heads together to puzzle out why he would go out so far on a limb, there is only one conclusion they can draw, and it comes soundtracked by “Hail to the Chief.”Running parallel to all of this is the surprise story line to which we were introduced last week: Wendy Rhoades’s book. Turns out it’s a nonfiction effort of sorts: “Rewards of the Ruthless: How I Make Wall Street Killers,” a chronicle of her tenure as Axe/Prince Cap’s performance coach. The book includes very thinly disguised versions of all your favorite traders, from the timid Tom (a Tuk analogue) to the hard-charging Lance (Victor all the way).Wendy attempts to soften the blow of the book’s existence by giving pretty much everyone an advance copy so they can weigh in on their own portrayals. The idea is to involve them as, essentially, co-conspirators instead of springing the book on them after the fact — effectively daring them into libel lawsuits.But Wendy ultimately puts the kibosh on the book herself, burning it up with her Buddhist priest by her side. She realizes this wasn’t an attempt to vent her bile but to service her ego. “In the end,” she says, “it’s a ride that only leads to needing more, which is exactly what I don’t need.” If only any other character on this show would realize the same.Loose change:To the usual “Billions” soundtrack staples — your Bruce Springsteen’s “Badlands” and so forth — this episode adds the playfully raunchy tune “Chaise Longue” by the British indie-rock darlings Wet Leg. Crank it up, folks.“A man in your position can’t afford to look ridiculous,” Wendy quotes at Ben Kim when he, Tuk and Bonnie angrily confront her about her book. “I wasn’t going to quote ‘Godfather’ at you,” Ben replies, but he has to admit that she’s right. Cue the Nino Rota.I don’t know about you, but Prince and Wags’s meeting with the Chinese officials was a little bit too “inscrutable foreign menace” for my taste. Don’t we have domestic menaces enough?Chuck refers to Prince as “Greg Stillson from ‘[The] Dead Zone,’” a reference to the Stephen King book in which a psychic sets out to stop a wildly dangerous presidential candidate by that name. Prince may be fictional, but take a look around the political landscape: Greg Stillsons are one thing this country still manages to produce in bumper crops.Am I the only person who wonders why Victor, Prince Cap’s most intimidating trader, is not in line for successor alongside Taylor and Philip? It’s weird to see him grouped alongside the likes of Ben Kim and Tuk instead of with the alphas.That said, I was pleased to see Sarah Stiles return as Bonnie, another Type A trader, when the crew confronts Wendy about her book. I’m still holding out hope she joins Mafee and Dollar Bill at their breakaway firm.The most prominent “appearing as himself” in this episode is the journalist John Heilemann, the star of Showtime’s “The Circus.” Here’s hoping for a “Dexter” crossover next time.Heilemann also earns this episode’s wrestling reference, in which Prince compares him to the chrome-domed monster George Steele, known also as the Animal. Sadly, Heilemann does not seem to have a green tongue from eating turnbuckle padding the way the Animal did.Prince’s aversion to obscenity is so pronounced in this episode — his exclamations include “Dang it!” and “Mother husker!” — that when he refers to Chuck as “that son of a [expletive]” in the end, it has a real impact. Will this stop me, personally, from dropping f-bombs in polite conversation all the time? Probably not, but it’s something to reflect on. More

Neither Chuck nor Prince has really moved on, even if everyone around them seems ready to.Season 6, Episode 10: ‘Johnny Favorite’There’s a valedictory note in the air. It starts in the office of the New York state attorney general, where Chuck’s newly minted replacement, Dave Mahar, leads a send-off toast to her ex-boss. It is echoed in an all-hands meeting called by Mike Prince, held at his own home — a meeting that turns into a booze and molly-fueled dance party D.J.ed by Questlove.Even Chuck relents eventually to letting his father; his best friend, Ira; and his buddy Judge DeGiulio (Rob Morrow) drag him to a fancy Lake George retreat, where the hope is that he can forget his troubles for a weekend and be steered toward his next station in life: chief counsel for a defense contractor, perhaps? Nothing a few drinks, some bison rib-eyes and some short-term female companionship — with a little boost from Dr. Swerdlow (Rick Hoffman) — can’t sort out.But neither of our two central antagonists has really moved on, even if everyone around them seems ready to. Prince’s shindig is largely an attempt to change the narrative, and Chuck’s only personal breakthrough after obsessing over Prince all weekend is in having determined his next move against him. Guys like them don’t take losing lightly, and in the span of two episodes, Chuck has destroyed Prince’s Olympic dreams, and Prince has destroyed Chuck’s political fortunes. For both men, the fight is far from over.From the start, Chuck is openly wary of the excursion his father and friends have put together for him. He refuses to relinquish his phone, preferring to remain tapped into the grid in order to establish his next route to power. When it comes to clay pigeons, he easily outshoots the rest of his party, metaphorically displaying his still extant killer instinct. (Chuck with a gun: Now there’s an image.) His turn in a sensory immersion chamber becomes a battle with a rich loudmouth named Ronald Chestnut (Matthew Lillard), a fight that continues when Chestnut attempts to pick up the group of women attached to Chuck’s gang at the retreat’s bar.Chuck dispatches this goon with his usual verbal dexterity, earning a round of applause from the whole establishment. But even as Swerdlow and his father retire to their rooms with their conquests of the evening, Chuck is planning his next line of attack. You simply cannot take the fighter out of him.As for Prince, he recognizes that his team is still smarting from the Olympic loss and needs to share in the spoils of his victory, however pyrrhic, over Chuck. He triggers the fight-or-flight instincts of all his employees — with one important exception — by giving them a day off and calling for an all-hands meeting at his home that evening. His plan is relatively simple: To use his favored analogy, he has slain his dragon; now all that remains is for the army that backed him to share in the devouring of the dragon’s heart, in the form of a celebratory rager.And it is indeed a wild night, from the perspective of a “Billions” fan at least. Making good on weeks of tension, Taylor Mason makes a pass at the witty and glamorous Rian; Rian rebuffs Taylor, saying she could never risk falling in love with a co-worker — only to wind up spending the night with Prince. In this relatively sexless season of the show, this is wild stuff.But there is one Prince Cap employee not in attendance: Wendy Rhoades. It’s not that she objects to Prince’s defenestration of her ex-husband; on the contrary, she seems to understand and accept this as something Prince needed to do. It’s the why of it, not the what of it, that concerns her as the company’s performance coach. What is it that Prince seeks, she wonders. Fear? Respect? Love?Over the course of a lengthy colloquy, Prince admits to requiring all three. By leaving the staff in suspense as to the nature of the all-hands meeting, he taught them to fear him. By centering the meeting on Chuck’s ouster, he earned their respect. And by turning it into a bacchanal, he won their love. It’s a psychological-manipulation hat trick!If you get the sense from all this that Prince thinks very highly of himself, compared with even his own most valued employees, you’re correct. Punishing Chuck isn’t enough to make up for having lost the Olympics. He tells Wendy that his end goal is to become that once-in-a-millennium figure who uses his talent, power, and fortune to leave the world a better place than it was when he found it, rather than, in Wendy’s profane parlance, “[expletive] the world up.” (How this squares with sleeping with one of his employees is anyone’s guess; it certainly casts doubt on his repeated promise to his semi-estranged wife, Andy, to prioritize their relationship.)And oh, did you know that Wendy is writing a book, and has in fact finished it by the time this episode ends? It sure was news to me!When you put all the pieces together, you’re left with one of the strangest and most unsettling, and unsettled, episodes of “Billions” in quite some time. Chuck, Prince, Taylor, Wendy — they all seem to be “at the precipice of a crossroads,” as “The Sopranos” would put it. For all its complexity, this episode is essentially a holding pattern, a brief reprieve before the masters of the universe at its heart select their next lines of attack.Here’s hoping they let the power go to their heads. If they didn’t, we wouldn’t have much of a show, would we?Loose Change:In a side plot, Kate Sacker is steered by Wags to a working relationship with Bobby Axelrod’s black ops guy, Hall (Terry Kinney). It’s Hall’s job to dig up the kind of dirt on Kate that no one else can find — precisely the sort of dirt that could be dredged up and used against her by a determined congressional opponent. In fact, Hall uncovers dirt even Kate didn’t know existed: Turns out, her father (Harry Lennix) paid off her prep school’s headmaster in order to prevent serious consequences for Kate’s vandalism of an administration building during a protest. When she angrily confronts her old man about this, he frames it as a matter of safeguarding the progress of Black people generally. It’s enough to put Kate’s dreams of high office on standby.In another relatively minor story line, Taylor meets with Mafee and is aghast to learn he hasn’t done anything to grow the small fortune in cryptocurrency gifted to him by Bobby Axelrod. Mafee insists that had he tried to parlay the gift into something bigger, the money would have owned him rather than the other way around. I’m not quite sure how this plays into Taylor’s later decision to make a pass at Rian, but it does seem connected in some ineffable way.“You see a bully, you have to step in”: This is Ira’s assessment of Chuck’s fundamental character. It ties in with Chuck’s fixation on the fact that Prince attended the hearing that led to Chuck’s ouster instead of letting it play out from a distance. Prince is a person who has to see his victories happen firsthand, which makes him vulnerable.It’s worth noting that Chuck very clearly chafes at Dave’s takeover of his office. He hired her to work for him, not to replace him. I wonder if he’ll ever get over it.Chuck compares the immersion chamber to the film “Altered States,” written — and subsequently disavowed — by Paddy Chayefsky. In fact, he’s surprised that this is the first Chayefsky reference the employees have heard. Is he talking about the staff at the retreat, or the writers of “Billions”?The episode takes its title, “Johnny Favorite,” from the name of a character in the director Alan Parker’s supernatural noir film “Angel Heart,” starring Mickey Rourke, Robert De Niro and Lisa Bonet. It’s a movie Rian and her co-worker Winston have become obsessed with, growing less sure of their interpretations of the story with each new viewing. You’ve gotta love a movie that makes you more confused over time rather than less.Speaking of movies, Chuck and his crew go through a lengthy recreation of the U.S.S. Indianapolis monologue from “Jaws,” only in this case it’s Charles Sr. ruing the deaths of dozens of people burned to death in a nightclub he owned during his stint as — let’s be blunt — a slumlord. It’s hard to tell which he regrets more, the deaths or his implication in them. Yikes. More

Chuck goes from one of his biggest professional triumphs to perhaps his greatest professional setback. That was fast.Season 6, Episode 9: ‘Hindenburg’“We need Chuck dead, not wounded and angry.” Wise words, those, from Governor Bob Sweeney. He has intuited something Chuck himself failed to, when Chuck yanked the Olympic Games away from Mike Prince without delivering a killing blow. In retrospect, it was obvious that a wounded, angry Prince, for all his self-avowed graciousness in defeat, would strike back. It just wasn’t clear that his retaliation would, in fact, be a death blow.But that’s certainly what it seems to be. Sweeney and the State Senate remove Chuck Rhoades from the office of state attorney general, the result of an elaborate scheme concocted by Prince. Chuck’s do-gooding, his rabble-rousing, his speechifying — none of it avails him.And so he moves from one of his biggest professional triumphs — putting the kibosh on Prince’s Olympics — to his greatest professional setback since he was fired as the U.S. attorney for New York’s Southern District by Attorney General Jock Jeffcoat a few seasons back. If anything, this defeat is far worse because it bears a firmer will-of-the-people imprimatur and because Chuck was nominally booted over charges of corruptly pursuing personal vendettas, not simply rubbing the boss the wrong way.To be fair to Chuck, I didn’t see his downfall coming, either. Nor were we supposed to! Before learning of the attempt to oust him, Chuck spends most of the episode deeply invested in pursuing another pet project: opening privately operated but nonprofit and tax-exempt parks and other such amenities to the general public.This quest is precipitated by two ugly incidents involving brown women, the first when his lieutenant, Dave, is barred from a private club and the second when a Hispanic mother is barred from a nearby park. Chuck strong-arms the local hedge fund bigwig Steven Birch (Jerry O’Connell) into ponying up a list of residents with access to the park, then takes them to court, where he settles on a deal that gives him a bare-minimum win — the best he could count on under such dubious legal circumstances.But it was all a put-on by Prince. Stuart Legere, the bribed university official whom Chuck believed was his man on the inside; the host at the club where Dave and Legere were supposed to meet; the mother who is prevented from entering the park; the Wall Street jerk who prevents her from entering it; the lawyer representing the park’s members: All of them are on Prince’s payroll, thanks to bribes from Wags and Scooter.In doing all this, Prince is acting on the advice of Chuck’s one-time right hand, Kate Sacker. Distract him the way a bullfighter distracts a bull, she says, and he’ll become vulnerable. And sure enough, he’s so busy hashing out the details of his big win against the high and mighty that he misses the political coup occurring right under his nose.At this point, the rapid-onset defeat of its main characters is a “Billions” hallmark. It took only one or two episodes for Prince and Chuck to embroil Bobby Axelrod in the illegal cannabis business that led to his flight from the country. No sooner had Prince landed the Olympics than Chuck canceled them. And now, Prince has defeated Chuck just one episode later. No one is safe on this show, and that makes for exciting television.Chuck’s entire downfall could, perhaps, have been prevented had it not been for his decision to show up at Prince’s Olympics HQ to gloat in the form of a peace offering. Prince recognized it for what it was: rubbing the billionaire’s nose in his defeat. Chuck’s biggest enemy is himself.The episode’s B-plot centers on Taylor Mason, the one-time wunderkind of Axe Cap. When the alums Mafee and Dollar Bill pop in for a visit, they also start to woo the mild-mannered traders Tuk and Ben Kim away from the firm, no doubt hoping to recreate that old Axe Cap magic. Tuk and Ben’s manager Philip, new to the firm, is happy to let them go if it’s really time for them to move on.But Taylor feels that this will make Philip look weak. Rather than allow a rival to take a hit to his reputation, Taylor unleashes a full Samuel L. Jackson in “Pulp Fiction” verbal fusillade at Mafee and Dollar Bill, scaring them off from their attempt to pry Ben and Tuk away. Philip is retrospectively grateful for the help, though he tells Taylor he suspects Ben and Tuk aren’t the only ones pining for the good old days of Axe Cap.Taylor, who has spent the whole season wrestling with Axe’s influence, seems chastened. But no one on this show stays chastened for very long.Loose change:I’d like to give a special shout-out to the veteran character actor Kenneth Tigar as State Senator Clay Tharp, a rare Republican ally of Chuck’s who is ultimately swayed to Prince’s side. He delivers a dignified performance centered on Chuck’s sympathy for Tharp after the death of his wife, a sympathy he can no longer pay back with support.For you reference-spotters out there, this episode was full of them. Basketball? Prince compares himself to Coach Pat Riley. “The Godfather”? That’s the name Chuck bestows on Riley, while Mafee quotes, “Be my friend?,” from the film’s opening scene. The Coens? Ben Kim quotes the Dude in describing his time at Prince Cap as “strikes and gutters,” à la the Dude from “The Big Lebowski.” Wrestling? Senator Tharp tips the hat to the grappler Ken Patera.Some less frequently trod reference territory: Taylor paraphrases the entire “Say ‘what’ again” speech from “Pulp Fiction.” For the literary-minded, William Kennedy’s Albany-based cycle of novels also gets its flowers. Bob Sweeney invokes the name of the Stephen King arch-villain Randall Flagg when describing Prince’s feelings about Chuck. And a judge compares Chuck’s legal approach to the Sex Pistols’ “Anarchy in the U.K.”; the song closes out the episode, and it is maybe the series’s most jarring music cue to date.Chuck compares himself to Charles de Gaulle and his enemies to the Hindenburg disaster, but it turns out the positions should have been reversed.Karl Allard goes undercover as a groundskeeper to spy on a meeting between Prince and his mega-rich cronies, reinforcing my love of Karl Allard.The episode ends with Dave’s being named the new acting attorney general. The show seems heavily invested in this character, and I hope the investment pays off. More

Chuck visits an old friend. Wags tries to cover his boss’s tracks as the decision about New York’s Olympics bid nears.Season 6, Episode 7: ‘Napoleon’s Hat’You know, it’s funny: Before I watched this episode of “Billions,” I’d been thinking to myself, “It’s been too long since Chuck Rhoades went to a dungeon.”Seriously! The series launched with an image of Chuck in flagrante, and his so-called “arousal template” played a major role in the show on and off for quite some time. A calculated admission of his predilections helped him win the attorney general’s office. And a failure to service his kink spelled the end of his relationship with last season’s romantic interest, played by Julianna Margulies.In this very episode, in fact, Rhoades says regarding sex workers, “I’m out of that game.” An almost entirely sexless sixth season, at least as far as Chuck is concerned, just didn’t sit right.So it was with some pleasure that I greeted Chuck’s descent into his old dungeon, on a quest to uncover the current location of the high-end brothel where Wags illegally entertained the bigwigs who select the host city of the 2028 Olympics. It was great to see Clara Wong as Troy, Chuck’s one-time dominatrix, and even better to see Paul Giamatti squirm as Troy painfully tweaked Chuck’s ear.It even meshed well with the subplot in which Chuck and his ex-wife-slash-amateur domme, Wendy, briefly rekindled their old friendship, only to bail when professional concerns got in the way. At their son’s high school carnival, Chuck had won a private dinner for two with the Michelin-starred chef Daniel Boulud, to which he invited Wendy for old time’s sake. But poor Boulud, playing himself, wound up serving the multicourse meal to their nanny and himself instead. C’est la vie!In the end, however, Chuck’s reunion with Troy bore no fruit, legally speaking. Wags was one step ahead of him, tipping off the elite brothel that the cops were on the way; the pros in question converted the place into the world’s least-geriatric bridge club, stymying Chuck’s attempt to tie Prince to illegal activities and thus scupper his Olympic bid.Even Chuck’s Plan B winds up D.O.A. With the help of his lieutenants, Dave and Karl (who’s been increasingly entertaining), Rhoades pinpoints the Olympic “fixer” Colin Drache as the recipient of a $5 million bribe, presumably from Prince. (Even Wags, of all people, is aghast at the brazen nature of the graft, at least as it pertains to a self-conceptualized straight arrow like Prince.) But just when he’s ready to make an arrest amid New York City’s celebration for securing the games, Drache simply vanishes, like Keyser Soze.In a way, watching this season of “Billions” is like watching some kind of ethical disease spread. Taylor Mason, head of the Prince Capital subsidiary Mase Carb, could well be patient zero. The one-time wunderkind spends this episode setting up a crowdsourced algorithm for investment ratings, then lording it over an established ratings agency in order to force them to downgrade the Metropolitan Transportation Authority. The idea is to allow Prince to weasel his way back into the system after his previous $2 billion donation to the authority backfired, abrogating the city’s need for his big ideas to improve the subway.It’s such an effective play that the governor, the mayor and the head of the M.T.A. can basically only nod and go along with it. Prince is upset that Taylor and his own right-hand man, Scooter, went behind his back with the plan, but he knows how to take a W. Still, he insists he’s not like some drunk dad from whom the booze needs to be hidden at Christmas; he wants to be included in future maneuvers of this sort.Meanwhile, Rian, who has been spending the season as a sort of Jiminy Cricket-style externalization of Taylor’s conscience, rues handing over the spiffy new ratings algorithm to the corrupt old guard just to have it squashed. The Rian-Taylor dynamic is one of the show’s most intriguing at this point; I have no idea where the endgame is with these two.But the most compelling duo in this episode is Chuck and Dave, thanks to their verbal sparring over the nature of extreme wealth. Chuck has the zeal of the convert when it comes to the rich: He calls billionaires a threat to democracy itself and says that the lower classes have been sold a myth because they hope against hope to be rich themselves one day. Dave argues that “only those with wealth have the privilege of resenting it, but for the rest of us, it’s that dream that makes us go.”Honestly? For as shrewd a legal operator as Dave is made out to be, her position sounds hopelessly jejune. I mean, Horatio Alger? In this economy? Please. By contrast, Chuck’s rage against the billionaire class reads like a logical and narratively fruitful outgrowth of his old enmity for one specific billionaire, Bobby Axelrod, and his current grudge against Axe’s successor, Mike Prince. Chuck has met the enemy, and he is cash.Loose change:No “Godfather” allusions that I caught this week, but there was a shout out to another gangster movie, “A Bronx Tale.” For my money, though, the best pop-culture reference of the episode was a subtle but unmistakable quote from “The Big Lebowski” when Chuck talks about the scholarship students sponsored by Prince: “Proud we are of all of them,” he says, quoting Julianne Moore’s Maude Lebowski on the “Little Lebowski Urban Achievers.”As a charter member of the Karl Allard fan club, I was delighted to no end by this episode as it revealed the wild side of the old legal hand. Dave recoils in borderline disgust as Karl recalls nights in an Okinawa sex club with viper-seasoned sake; Chuck gazes at him incredulously as he describes his prowess as a “spirit guide” in the psychedelic era. (“Loose, breathable clothing is key.”)Still no clues as to whatever Mike’s secret agenda may be, beyond his vaguely proclaiming, “I plan on having a lifetime of grand projects.”Crucial to all of Mike Prince’s plans is the approval of his semi-estranged wife Andy, an Olympic-level rock-climbing coach. She ends the episode with an anecdote about racing up a summer-camp rock wall to kiss pinups of era-appropriate heartthrobs at age 8 and by extracting a promise from Prince to fly back and forth to Denver. Can he really be trusted to put his marriage ahead of his city?“The year Sperrys or a Vineyard Vines blazer shows up on Kevin’s Christmas list is the year we’re transferring him to public school”: Wendy is decidedly sour on her son’s private-school upbringing after she and Chuck are confronted by an obnoxious parent at the carnival, who calls Chuck a communist and Wendy a Karen. As an aside, the way they ferociously stick up for each other makes me think there’s still dramatic juice to be squeezed from their relationship.For all of Chuck’s self-conception as a man of the people, he still reacts like a scalded dog at the prospect of his son going to — gasp — Cornell instead of Yale.“That guy … a Cypress Hill song comes to mind,” says Prince of Chuck. Which one, I wonder? “Insane in the Brain”? “How I Could Just Kill a Man”? Uh, “Hits from the Bong”?Chuck on that fancy brothel: “These places shuffle locations like handsy priests change dioceses.” As a veteran of a Catholic upbringing, this one hit home hard.“Next time I pay every employee their full night’s wages,” Wags says to one of the brothel’s workers, “something unspeakable is going to transpire, and I will be right in the middle of it.” Now that’s our Wags! More

Prince takes a hit, and Taylor makes a hit job. The gamesmanship is getting expensive, in more ways than one.Season 6, Episode 6: ‘Hostis Humani Generis’There are few things on television I enjoy more than a good “Billions” fake-out. The sine qua non comes from the stellar Season 2 episode “Golden Frog Time,” in which a Chuck Rhoades who at first appears to be sobbing is actually laughing hysterically because his plan to undermine his enemy Bobby Axelrod worked like a charm. (At the expense of his best friend and his father, but still!)The sleight-of-hand that occurs in this week’s episode isn’t nearly as momentous, but it provides that thrilling frisson nonetheless. For a moment, it looks as if Chuck has put the screws to Mike Prince’s alma mater, Indiana A&M, to prevent it from investing in his firm. How? By blackmailing the university’s endowment chair, Stuart Legere (Whit Stillman alum Chris Eigeman), who has been embezzling.But it turns out that the opposite is true. Chuck is blackmailing Legere and the endowment into investing with Prince by threatening to expose the embezzlement. Having previously rejected his father for the role as too obvious a choice, Chuck wants an inside man who will report back on Prince’s every move, and now he has found one. The needle drop of the Police’s “Every Breath You Take” that accompanies the maneuver is no mere music cue. It’s a mission statement: No matter what Mike Prince does, the watchful eyes of Charles Rhoades Jr. will be on him, whether he knows it or not.Why? Because Chuck really and truly seems to have gotten religion where the billionaire class is concerned. He calls Prince “a robber baron.” He denigrates Prince’s seemingly charitable donation of a new fleet of high-tech subway cars (funding for which was the purpose for reopening the exclusive Prince List to new investors, like his alma mater) as a new form of “noblesse oblige.” He characterizes Prince’s seeming benevolence as an attempt “to further his own ends, whatever they may be, while he enjoys ten thousand, a hundred thousand times” the resources of anyone ostensibly benefiting from his largess. He has deemed all billionaires “hostis humani generis,” an old designation for pirates: enemies of the entire human race.And how will Chuck defeat Prince’s latest gambit? In large part by relying on the acumen of his new lieutenant, Dave Mahar. In a brief meeting with her predecessor, Kate Sacker, Dave discerns that speed is of the essence where Prince Cap’s plan to purchase those new subway cars is concerned. So she threatens to tie it all up in red tape related to the cars’ Chinese manufacturer — an end-run around the Transport Workers Union, which has been bought off with half a billion dollars’ worth of re-education and training for members who lose their jobs to newwer, more automated subway cars. Kate actually tenders her resignation to Mike over the gaffe, though he doesn’t accept it.Then there’s the matter of Leon Sherald (Okieriete Onaodowan) to consider. Sherald is a football star who has started a blockbuster home fitness franchise, and he wants in on the reopened Prince List’s exclusive list of investors. It’s Taylor Mason’s former underling-slash-friend-with-benefits, Lauren (a returning Jade Eshete), who brings Sherald’s offer to the firm, despite the awkward interpersonal dynamics.But when Sherald finds out that the public-sector pension fund to which the Transport Workers’ Union belongs also includes the New York police union, he demands Prince drop it, or he’ll nuke the list’s reputation in the all-important court of public opinion.This is where Taylor comes in. Having been tipped off to an app that suppresses problematic social-media posts by Rian, Taylor reverse-engineers the procedure and digs up damning information about Sherald, neutralizing his ability to tank the Prince List in the process. Rian, once again, is aghast, but the firm wins the day.In the end, Prince agrees to fund public transport, even without his futuristic Chinese subway cars. But what is the endgame here? Well, remember when Chuck talked about Prince’s “own ends, whatever they may be”? At multiple points in the episode, there are tantalizing hints that there’s a play behind the play, a maneuver by Prince for which the Olympic Games are merely a pretext.Scooter warns Prince that his gamesmanship is getting expensive, but it’s perhaps permissible if “there’s no other way to everything you want.” Later, Prince tells Scooter “You’re know where we’re headed — you’re the only one — but when we leave to do the thing, we need to install someone who’ll run the place right.” The dialogue seems to rule out the simple matter of getting his estranged wife a plum coaching gig; it points to something larger, more secretive.The near-term ramifications are clear enough: Scooter’s nephew Philip is being groomed for leadership. The long game, though? The thing Prince is aiming for above and beyond the Olympics? That’s anybody’s guess. I don’t know about you, but I enjoy a drama that keeps me guessing.Loose ChangeUntil I heard them open and close this episode, I’d never really made the thematic connection between the Police songs “Synchronicity I” and “Every Breath You Take,” despite their both being on the album “Synchronicity.” The first song is a sort of mystical paranoiac fantasy that everything is connected; the latter is a stalker’s message that it’s right to be paranoid.In this week’s “appearing as themselves” rundown, we see the Warby Parker chief executive, Neil Blumenthal; the Greenlight Capital founder, David Einhorn; the Wharton professor and TED talker Adam Grant; the dot com pioneer Seth Godin; and the philanthropist Jacqueline Novogratz as members of Prince Cap’s board.No “Godfather” references that I spotted this go-round, but Al Pacino’s monologues in “Any Given Sunday” and “Scent of a Woman” get a (literal) shout-out from Philip. Hoo-ah!Your pro-wrestling reference of the week: Dave threatening to pull off a Bobo Brazil “Coco Butt,” one of the most feared head butts in the art form’s history, on the Transit Workers’ Union boss Tony Plimpton (Kevin Chapman).Important Prince Cap maneuverings to remember: Tuk begins to develop some real money-making instincts while working as Philip’s gofer; Philip refuses to be poached even after his uncle Scooter sets him up for a plum job far away from the firm.Your latest sign that “Billions” has evolved past Bobby Axelrod: Comptroller Leah Calder (Wendie Malick) congratulates Chuck on taking down Axe, and Chuck replies that his one-time nemesis “is firmly in my rearview.” Adios, Axe. More