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    On HBO’s ‘Succession,’ if You’re Eating Food, You’re Losing

    When it comes to the high-powered Roy dynasty, food is for the weak and striving.Autumn light filters through the treetops of Central Park West, streaming into Jean-Georges, giving the gray banquettes a matte, silver gleam. The space is plain, severe in its neutrality, undeniably grand and hushed. Each table, though in clear view of the others, is luxuriously cocooned by space, almost private.It’s the ideal place, really, for the Roy children — the scions of the Waystar Royco media empire on HBO’s “Succession” — to discuss their father’s funeral arrangements.The conversation is brisk, and though they chose Jean-Georges as their meeting spot, they don’t eat the food. They leave the pastries — the dark, oversize canelés and fruit-studded buns — along with the platter of fanned, cut fruit, completely untouched. They get up from their seats without so much as unraveling a napkin or dirtying a plate. The slight, feathered mark of Shiv’s nude lipstick on a coffee cup is the only trace of their presence.It’s not unusual for the Roys to avoid eating. From Logan’s humiliating game of “Boar on the Floor” to the menacing box of doughnuts he sends his children when they try to meet in secret, the food on “Succession” has always been deliciously toxic, dissonant and loaded — a clear line into the family’s trauma and power dynamics.But in the final season, things are especially warped and grim. It’s as if the show has stepped into its Ozempic era and real power can only be found in the total absence of appetite. For those with meaningful status in “Succession,” food doesn’t exist for pleasure or nourishment — it barely exists at all. If a character does have a nibble, no matter how small, it tends to be a red flag.At a business retreat in Norway, Tom Wambsgans, right, passes on the buffet.Graeme Hunter/HBOTom Wambsgans, Siobhan Roy’s husband, didn’t come from money, but married into this super-rich family, and has carefully studied their patterns and prerogatives. He is hyper-aware of the contradictions and intricacies of America’s unspoken upper-class etiquette — and often the first to criticize a faux pas.“She’s wolfing all the canapés like a famished warthog,” Tom tells cousin Greg, clocking the inappropriate date Greg brought along to Logan’s birthday lunch. Because what could be more plebeian, what could signify her being any more out of place, than actually eating the food?Not long after, at Logan’s wake, Tom misjudges his position and nominates himself to take over as interim chief executive for the company. If it wasn’t already clear he’d made a terrible mistake, it is when Tom pops a fish taco into his mouth. As he’s powerless, chewing, Karl imagines how the board might see him: “You’re a clumsy interloper and no one trusts you. The only guy pulling for you is dead, and now you’re just married to the ex-boss’s daughter, who doesn’t even like you.”By the time the Waystar team flies to Norway to finalize the sale of the company to Lukas Mattson, the billionaire chief executive of GoJo, Tom sees hospitality as pure gastro-hostility. As Waystar’s senior executives pile their plates with food at a buffet, he’s careful not to be seen eating breakfast at all. “Ambush!” he calls out cheerfully to his colleagues. “You took the bait, fattened for the kill.”And Tom’s not wrong. A GoJo executive comments on the portion size, too: “Hey, easy buddy, leave some for us.” The Waystar team’s desire for breakfast pastries isn’t the only thing that now feels embarrassing — the Americans are overdressed for the countryside, anxious for the deal to go through, fearful of losing their jobs. Their hunger, their appetite, their keenness, it’s a squishy surplus of vulnerability.As Season 4 opens, Logan is competing with his children to buy Pierce Global Media, and escapes his own birthday party in a huff to visit Nectar, a Greek-owned coffee shop on Madison Avenue. (For Town & Country, Charlotte Druckman wrote about this excursion as its own kind of power move.)In a rare moment of vulnerability, we see Logan eating. But first, he insists to his bodyguard, Colin, who is on the clock, that Colin is his best friend, that human beings are merely economic units in the market, that he isn’t sure what happens when we die. Emotionally, he’s a mess.“Nothing tastes like it used to, does it?” Logan says wistfully. “Nothing’s the same as it was.”Connor Roy and Willa Ferreyra hosted their rehearsal dinner at the Grill, a classic Midtown power-lunching spot. It ends up predictably miserable.Macall B. Polay/HBOIn the episode that aired on Sunday, the family reaches the heights of both their incompetence and their power. Election Day in the newsroom was already tense for Tom without the Roy siblings stomping around, sliding notes directly to TV anchors, pushing their agendas on his top voting analyst, scrolling through Twitter, reframing the headlines because, well, the right-wing candidate asked them to. Tom loses his temper when Greg approves cheap sushi as his lunch.It’s not much of a power move — it is not, for example, Logan telling the staff to scrape an entire over-the-top steak and lobster dinner for the family into the trash, then order pizza instead — but it’s the only move that Tom, who has lost control of the newsroom, who never had any control over in the first place, has left. He will allow the election results to be nudged and massaged, the newsroom to be compromised and swayed. He will allow the world to burn, but look, he is above the sushi. He will not touch the sushi.Greg, on the other hand, is happy to dig into his “bodega sushi” as the siblings pressure Darwin, ATN’s election analyst, to call the election before he’s ready. It’s a devastating and hilarious sequence. “This isn’t actually a numbers thing,” says Roman. “I’m just going to say we’re good and that’s on me.” “You can’t make the call ’til I make the call,” says Darwin, angrily.But a moment later, Darwin has given up all sense of editorial integrity and is punished for it, as he accidentally smears wasabi from Greg’s sushi into his own eyes. Greg, in a bumbling, misguided effort to help, pours stinging, lemon-flavored LaCroix right into the wound.It’s as if he didn’t know there’s no making things better with food — there is only making things worse.Follow New York Times Cooking on Instagram, Facebook, YouTube, TikTok and Pinterest. Get regular updates from New York Times Cooking, with recipe suggestions, cooking tips and shopping advice. More

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    In ‘Succession,’ Democracy Goes Up in Smoke

    On Sunday night, the Roys pondered whether to sell out democracy in exchange for their father’s kingdom. In the real world, the going rate is usually cheaper.This article includes spoilers for the most recent episode of “Succession.”In Sunday’s episode of “Succession,” a TV network sold out democracy. The most implausible part of the story was how high a price the sellers got for it.In the episode “America Decides,” the heirs to the conservative media empire Waystar Royco helped Jeryd Mencken, a Nazi-curious presidential candidate, claim a violence-tainted election by ordering their cable-news network to call it for him. The multibillion-dollar reward: Mencken would kill Waystar’s pending sale to a Swedish tech bro, handing Kendall and Roman Roy the kingdom after their father’s death.In reality, cable news favors for antidemocratic political forces come much cheaper. But let’s deal with the fake news network first.In the “Succession” episode — which probably should have carried a content warning for anyone who has followed the last couple of presidential elections — the night begins with the Democrat, Daniel Jimenez, ahead in the polls. The results end up tight enough to be decided by a highly convenient, apparently intentional fire in a Milwaukee vote counting station, which incinerates enough pro-Democratic ballots to swing Wisconsin to the Republican Mencken.After watching the previous episode, I sketched out a scenario in which the Roys’ network, ATN, has to take sides in a contested election, with the fate of the deal at stake. This doesn’t make me Nostradamus. “Succession” is predictable in the best way. It simply sets up conditions, gives characters motivations, then lets them act in their interests. It’s only as unpredictable as you fool yourself into believing it is.So there’s chaos and opportunity. There’s a fire and an election call that, while not carrying the force of law, would determine the narrative advantage in a legal (or extralegal) showdown.For America, it’s the choice between remaining a country where elections are won with ballots or becoming one where they’re won with torches. For the Roy siblings (minus Connor, conceding the end of his libertarian vanity campaign), it’s a golden jump ball, and each one of them reacts in character.Roman, who has always vibed with Mencken’s edgelord energy, sees no reason not to get on the good side of a history-smashing win. Roman knows who Mencken is, better than any of the Roys do; in Season 3, it was to him that Mencken expressed his openness to borrowing ideas from “H,” his pet name for Hitler. But what’s a little fascism between friends?This had to be a rough episode for Team Roman, the “Succession” fans who love his broken-toy impishness and “Clockwork Orange” banter. He is funny, even while electing a white nationalist, telling his sister, Shiv, “It’s only spicy because if my team wins, they’re going to shoot your team.” That’s exactly what has always made him dangerous. Does he endorse Mencken’s worldview sincerely or ironically? Does it matter? Does an ironic arson fire burn any cooler?His siblings respond with different flavors of ineffectiveness. Shiv, once a Democratic operative, is horrified at the “nightmare” of a President Mencken. But not horrified enough to sabotage her own schemes. Given the chance to ask the Jimenez campaign to promise to kill the Waystar sale — a deal she has been secretly working against her brothers to make happen — she fakes a call instead, and gets caught out. It’s a double-or-nothing bet with democracy as her stake, and she loses.Kendall, meanwhile, resists with the force of a wall of Jell-O, telling Roman, “I don’t necessarily feel good about this.” Necessarily: On “Succession,” statements of principle are always hedged.Kendall knows the stakes too. He wants to be good, or to be seen as good, and his daughter recently had an upsetting run-in on the street with an alt-right racist. But he also wants to win his company back. As often happens when he can’t reconcile his self-interest with his self-conception, he shuts down like a glitching robot, until learning of Shiv’s betrayal pushes him to push ATN to call the election.Respecting their viewership: Nicholas Braun, left, and Matthew Macfadyen in “Succession.”Macall Polay/HBOHis anger at Shiv is a reason, but it’s not the reason. As usual on “Succession,” this is about the money, and the dysfunctional family competition in which the money keeps score. As the brothers argue, Roman accuses Kendall of “big brother”-ing the election call, using seniority to get his way, just as Kendall did at dinner time when they were kids.If only little Roman had gotten steak, we might have gotten democracy.In our reality, of course, the ordinary pressures of the cable news business might have sufficed to force the call, deal or no deal, steak or chicken. As we just saw in the Dominion voting machines libel trial, Fox News — the none-too-subtle real-life analogue to ATN — indulged election theft hoaxes simply to try to hang on to its existing audience (at an eventual cost of hundreds of millions of dollars so far and potentially more).“America Decides” plays as if the writers committed the pretrial discovery file to memory. The episode follows Tom Wambsgans, Shiv’s estranged husband and ATN’s head, through an ulcer-making election night. He is sleep deprived and coked up, under pressure to deliver big ratings for the Roys and scary antifa stories for his audience, which is getting raw, uncut propaganda from ATN’s farther-right competitors.This was much the dynamic at work in the internal messages disclosed in the Dominion suit, which showed Fox stars and executives freaking out over competitors like Newsmax, who were gaining traction by embracing the election-fraud lie. (And of course, Fox’s worries stemmed from viewers’ fury over election night, particularly about the network calling Arizona for soon-to-be President Biden.)Asked why ATN isn’t reporting the evidence that the ballots were torched by Menckenite brownshirts, Tom says, “We need to respect our viewership” — phrasing almost verbatim from the Fox messages. “Respecting this audience whether we agree or not is critical,” the host Sean Hannity texted after the 2020 election.So ATN brings out its sneering alt-rightist, Mark Ravenhead, to insinuate that the fire was a false flag, while Tom suggests booking an egghead historian to tell viewers that everything is fine and normal. “Succession” has always had a feel for how the shamelessness of extremists defeats, and is enabled by, the flaccid reasonableness of centrists.Of course, ATN, like Fox, operates in a larger media environment, and the episode is less clear on how election night is playing elsewhere, especially on PGN, the in-world analog to CNN. There’s a brief clip suggesting that PGN, and presumably other mainstream news, is treating the election as undecided while the legal process plays out. (On a story level, this suggests that the election and Waystar Royco’s fate may have a few turns yet to take.)In our reality, mainstream outlets have their own pressures and owners. CNN, which is part of Warner Bros. Discovery, has a new head, Chris Licht, and a reported new corporate mandate to reposition after years of pugilistically covering President Trump.CNN spent the 2020 campaign trying to learn the lessons of 2016 by scaling back on airing live Trump rallies and assertively fact-checking him in detail. Now — knowing full well that the former president tried to overturn a democratic election — it seems determined to spend the 2024 campaign unlearning the lessons of 2020.Thus last week, CNN granted Donald J. Trump an hour of live TV to be as dishonest about the attempts to overturn the last election as you knew he would be if, at any point in the last few years, you watched CNN. While the town hall moderator, Kaitlan Collins, interjected corrections, he boisterously played his “rigged election” hits to a cheering crowd.CNN got a spectacle; the former president got a live platform for another dominance-politics performance. The morning after the town hall, Licht reportedly told the CNN staff: “Kaitlan pressed him again and again and again and made news. Made a lot of news.” And, he said, “that is our job.”Here, life echoes “Succession” once more. At the end of election night, with ballots burning and Mencken delivering a dog-whistley speech about making America “clean,” Roman insists that nothing he or ATN did that night was that bad or consequential. “We just made a night of good TV,” he says. When the smoke clears, you can always tell yourself that you didn’t start the fire. More

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    Alan Ruck Is Ready to Leave the Roy Family

    The article includes spoilers for the most recent episode of “Succession.”One of the most impressive tricks HBO’s “Succession” has played on viewers over the course of four seasons is generating sympathy for reprehensible people. Sunday’s episode, in which democracy is discarded, apparently because Roman Roy (Kieran Culkin) had to eat too much chicken as a child, puts most of that sympathy to rest.It also ended the ludicrous presidential campaign of Connor Roy (Alan Ruck), the eldest and most bumbling Roy son, who launched his bid to confront what he saw as America’s biggest problems: “usury and onanism.” But even in conceding, Connor insults voters and issues a veiled threat to unleash the “Conheads,” his followers, after saying that he wouldn’t stoop to petty behavior. It was perhaps the darkest moment for a character who has largely been relegated to buffoon status, but Ruck sees Connor’s ignorance as his main political tool.“He’ll believe whatever sounds good to him that day,” Ruck said in a recent video call full of vivid anecdotes and laughter. “He’ll read something online or he’ll hear something on television, then that’ll become, like, the central plank of his platform for that day. And then tomorrow could be something completely different because he’s just not a focused person.”As Connor, Ruck, 66, has spun decades of character-actor chops into some of the series’s most scene-stealing moments: the “hyperdecanting” of a bottle of wine in a Vitamix blender; the rage over butter texture while overseeing his father’s gala ceremony; the suggestion to his call-girl-turned-fiancée, Willa (Justine Lupe), that they have “razor wire and bum fights” at their wedding to gin up fanfare for his presidential campaign.“Hands down the best writing I’ve ever encountered, week after week,” he said. “But I do think that it’d be fun to move on to something else after playing basically the family [expletive], you know, for what amounted to six years.”Ruck sees the series as “a gift” in a career that has often been feast or famine, with occasional day jobs to pay the bills. In 1986, he played Cameron Frye in “Ferris Bueller’s Day Off”— a quintessential Gen X character in a quintessential Gen X teen comedy. But the role didn’t immediately translate into stardom, and Ruck found Cameron’s shadow to be quite long.Ruck was considered too old for “Ferris Bueller’s Day Off.” But once he auditioned, “everybody just thought he was perfect,” said his co-star Matthew Broderick. (With Mia Sara.)Paramount Pictures, via Getty ImagesAs the relationship between Connor and Willa turned into something more real than transactional, the actors discussed how to make that evolution work, Justine Lupe said.David M. Russell/HBO“There were a lot of spotty years where I was just, like, basically making just enough money to stay alive,” he said. “When people would come up during that period and say something about ‘Ferris Bueller’ it would kind of really irritate me because I felt, well, that was it. That was my shot.”Of “Succession,” he said, “I dreamed about a show like this for years.”Growing up in a suburb of Cleveland, Ruck found solace in acting once he reached high school. As a student at the University of Illinois, he said, he spent most of his time on a stage. The college’s performing arts complex was designed by Max Abramovitz, the architect behind David Geffen Hall, but “there was another sort of student theater that was just a small theatrical space in an armory,” Ruck said. “They’d give you a budget of 25 bucks, and you could put on any play you wanted. So it’s just a lot of experience over a short period of time.”He moved to Chicago in 1979, a time when the theater scene, anchored by companies like Steppenwolf and the Wisdom Bridge, was beginning to take off. And after the box office success of “The Blues Brothers” (1980), he said, Hollywood became more interested in the city, making it an ideal place to be a budding actor.“You could walk into any talent agency on a Wednesday, and just say, ‘Hi, I’m new,’ and they’d sit down and talk with you,” he said. “Talk about this with people who started in New York or Los Angeles, and they’re like, ‘What are you talking about? You can’t just go see somebody.’ So it was like the top of the minors.”When Broadway casting directors came to Chicago to audition actors for Neil Simon’s “Biloxi Blues,” Ruck eventually landed a role. He moved to New York and shared the stage with Matthew Broderick, his future “Ferris Bueller” co-star, who remembered Ruck as having that “aura of the ‘Chicago good actor’ thing.”Mark Mylod, a “Succession” director and executive producer, said Ruck’s understanding of Connor’s delusional worldview brought “this beautiful soul to the character.”Daniel Dorsa for The New York Times“He had the look of somebody like a James Dean,” Broderick said, laughing. “Everybody in that play, we all had, like, very different personalities. But we all really did turn into kind of a unit, and Alan was a hugely important part of that.”It was during that run of “Biloxi Blues” that casting began for “Ferris Bueller’s Day Off.” Ruck had met the director, John Hughes, in Chicago when he auditioned for an early version of “The Breakfast Club,” and his agent put his name in for the role of Cameron. But the casting directors thought Ruck, then 28, was too old.“But then he came in and read and just sort of knocked John Hughes out,” Broderick said. “Everybody just thought he was perfect.”“Ferris Bueller” was a hit and remains widely beloved nearly four decades later. But three years after starring in it, Ruck was working in the sorting room of a Sears shipping warehouse in East Los Angeles. He had moved to the city after landing a pilot with Nell Carter for NBC, but it failed, and he had a wife and young daughter to support.His co-workers had no knowledge of his acting career, he said. One day as Ruck was smoking in the break room, one co-worker pointed him out to another. “He said, ‘You ever see that movie ‘Ferret Buford’s Day Off’?” Ruck recalled, laughing. “‘That looks like the [expletive] with the dad car!’”Ruck eventually found plenty of sitcom and dramatic TV roles, most prominently in ABC’s “Spin City,” and landed bit parts in films like “Young Guns II,” “Speed” and “Twister.” It’s the type of trajectory that can be hard on an actor’s ego and paycheck but gives them space to sharpen. For Ruck, it showed him exactly what he was looking for.“I worked on a sitcom for, you know, 18 episodes, and then there was nothing for a year,” he said. “So that gets pretty discouraging, because you’re not doing what you’re supposed to do.”By the time “Succession” was casting in 2016, Ruck, who is now married to the actress Mireille Enos, had settled into more of a rhythm, taking whatever parts came to him. He was filming the Fox series “The Exorcist” in Chicago and flying home to Los Angeles on the weekends, while Enos was pulling 16-hour days filming “The Catch” and caring for their two young children. One weekend she asked him to join her and their 2-year-old son at a music class before he flew back to Chicago. Then he got a call from his agent: There was an audition for an HBO show, but he’d have to miss the class.“I turned to Mireille and I said, ‘Honey, I have an audition for an HBO show,’ and she burst into tears,” he said. So he kept his promise: “We went to music class, and we banged tambourines for like an hour.” Then he stopped by the “Succession” executive producer Adam McKay’s house on his way to the airport and auditioned in his living room.With no time to read the script in advance, he was told to improvise, which proved handy once he got the job and filming started. Mark Mylod, a “Succession” director and executive producer, said Ruck’s understanding of Connor’s delusional worldview brought “this beautiful soul to the character.” This was especially apparent during what Mylod called “freebies,” or extra takes in which the actors try alternate lines or improvise their own.“Alan is brilliant at that,” Mylod said. “You give him a freebie and basically he could run a 10-minute roll of film without ever breaking character.”Ruck sees Connor’s stupidity as his main political tool. “He’ll read something online or he’ll hear something on television, then that’ll become, like, the central plank of his platform for that day,” he said.Daniel Dorsa for The New York TimesMost of Ruck’s scenes are with Lupe, many of them excruciatingly awkward. But as their characters’ relationship grew into something more than merely transactional, Lupe said, their offscreen dynamic solidified. They texted each other regularly about how to make their scenes illustrate that evolution.“That was really helpful” she said. “We felt like we could do it together, instead of having to create a whole narrative on my own, or him having to create a whole narrative on his own.”Lupe pointed out their wedding scene from earlier this season. It amounted to only a few seconds of screen time in an episode destined to be remembered by viewers for the death of the paterfamilias, Logan Roy (Brian Cox). But what Lupe recalls is the emotional intensity of the filming of Willa and Connor’s nuptials.“We had vows that we exchanged with each other that kind of helped us get to the place where that felt like an authentic presentation,” she said. “In between takes, Alan would say these things like about how great it was to work together and about how the run had been with each other. And I was just like, ‘No, don’t! I’m gonna cry!’”Next up for Ruck are roles in two films: “The Burial,” a legal drama with Jamie Foxx, and a sequel to “Wind River.”. And while he will miss the camaraderie of the cast and crew of “Succession,” he feels he’s gotten everything he could out of Connor Roy — and some things he could do without.“It’s weird when you play a character that’s so easily dismissible,” he said, laughing. “People continually call you ‘moron.’ You know, it gets under your skin a little bit — I’ll be happy to let that go.” More

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    ‘Succession’ Season 4, Episode 7 Recap: The Scorpion and the Scorpion

    This week, the Roys throw the election eve party they inherited from Logan and as always, they arrive with their own discrete agendas.Season 4, Episode 7: ‘Tailgate Party’This “Succession” season’s premiere episode ended with Tom and Shiv lying together in bed, bitterly angry but still holding hands. In the weeks since, the couple has been flirting more openly (and bizarrely), trying to figure out if perhaps they are each broken in just the right way that their jagged pieces can fit back together.Their weird romantic renaissance peaks with this week’s episode, which sees them sexting each other incessantly — and sees Tom confusingly gifting Shiv with a glass-encased scorpion, in an apparent reference to “the scorpion and the frog” parable. (Tom, sheepishly explaining: “I love you but you kill me and I kill you?”)The couple means to cement their comeback by co-hosting an election eve “tailgate party” in their swanky triplex apartment, with a guest list drawn from a who’s-who of media, political and business bigwigs. They inherited this shindig from Logan, who regularly used it as a way to make nice with his ideological enemies, allowing them all to meet as friends for at least one night and pretend they don’t despise each other. It’s like a cocktail party version of Tom and Shiv’s marriage.As always with “Succession,” the Roys arrive at this party with discrete agendas. Shiv intends to continue in her secret role as the Matsson-whisperer. Unbeknown to Kendall and Roman, their father had already invited Matsson to the party; but the Swede declined, because legacy media backslapping and chest-puffing bores him. It’s only after Shiv warns him that the Roy boys are making moves that Matsson mobilizes. His strutting GoJo band barges into the triplex right when Kendall is leading a moment of silence for Logan.Shiv pretends to be appalled by the rudeness, but after Kendall insists he wants to avoid any direct confrontation with Matsson —“There’s too much peanut butter between us,” he says — she takes the assignment to stay by Matsson’s side, introducing him to the power-brokers while also subtly promoting GoJo’s plans for Waystar and ATN. She makes sure everyone knows she will be involved in whatever comes next — or as she demands of Matsson, have “a very, very, very significant role.”Roman, meanwhile, is still kicking himself after skipping the Living+ presentation that made Kendall the new Waystar star, so he makes his own big move. The polling is showing a tight presidential race, with the Republican candidate Jeryd Mencken falling just short in a few key states. If Roman can talk Connor into dropping out and backing Mencken, that might be enough to make a difference, which would mean that the new president of the United States would owe Roman Roy all the favors.On the whole this is a very heavy episode, but nearly everything to do with Roman wooing Connor is hilarious. After his older brother laughs off the idea that he would concede for “the good of the republic,” Roman becomes the go-between for ambassadorial offers. Somalia? “Little bit car bomb-y.” Work up to a big European post through Slovenia or Slovakia? “It’s a no on the Slos.”Eventually they settle on Oman (“rich man’s Yemen!”), but Willa is concerned when she looks the country up and reads, “The sultan’s word has the force of the law.” She is also not swayed by the prospect of helping Mencken, telling her husband, “All my family and friends hate Mencken.” (Connor just smiles big and says,“Diplomatic plates!”)The subplot takes a sour turn when Willa persuades Connor to reject Oman and stay in the race, which angers Roman so intensely that he refers to Willa as Connor’s “wife” (in quotation marks) and calls his brother “a joke.” This happens immediately after Roman has a crushing encounter with Gerri, who lets him know of her plan to extract “eye-watering sums” from Waystar thanks to his entitled arrogance, sloppiness and sexual harassment.She then adds, as the hardest slap in her former protégé’s face, “I could’ve got you there.” It’s no wonder Roman is fuming when he confronts Connor — though that does not excuse how mean he is.Kendall also makes some missteps while coasting on his Living+ triumph. He invites Shiv’s ex-lover and top Democratic operative Nate Sofrelli (Ashley Zukerman) to the party, to see if the Dems might consider squashing the GoJo deal from a regulatory standpoint. In return, Kendall promises that ATN will give the potential new administration “a better ride on the first 100 days.”All this favor-trading makes Nate uncomfortable, as does Kendall’s insistence that old acquaintances should not have to worry about ethics and legal formalities. (“You’re not Logan,” Nate warns him. “And that’s a good thing.”)Kendall rebounds though when he gets some useful intel about Matsson. GoJo’s long-suffering head of communications, Ebba (Eili Harboe), lets slip that the company’s metrics are erroneously doubling their subscriber numbers in India. (“New money,” Kendall later says to Shiv, shaking his head. “You gotta hold those bills up to the light.”)Kendall comes to Frank and suggests a new tactic: “Reverse Viking.” Acquire GoJo and make Waystar bigger than anything Logan ever achieved. And if Roman and Shiv object? Kendall shrugs. “I love ‘em but not in love with ‘em, y’know” he says. “One head, one crown.”The whole premise of Logan’s tailgate parties are that the attendees are all, to some extent, putting on an act. Loony lefty? Neo-fascist? These are just performative personas. At this party everyone can take off those masks and put on another. But while it’s all well and good — sort of — to play those kinds of games in public, emotionally healthy people do not keep playing them in private. The Roys, damaged by their manipulative and withholding father, repeatedly fail to grasp this. That is how Kendall and Shiv can pretend to have each other’s backs while secretly planning to stab each other.Which brings us back to poor Tom, who realizes as the night rolls on that Shiv will not protect him from the people who want to change ATN. Even while standing right next to Tom, she calls him “Mr. Mild” and “a one-pepper menu item.” While circulating with Matsson, she never balks at any suggestion that her husband has no future with the company. Those rumblings eventually reach Tom, who is already exhausted from being bombarded with questions from the party’s more liberal guests about whether ATN is fostering a climate of political violence.It all ends in tears. In last week’s episode, Shiv and Tom enjoyed a moment of truth-telling they each found refreshing — and even a little kinky. This week though, in a private moment on their balcony, they lob honesty-bombs at each other until they do real damage.In a nightmarish scene, they keep saying the worst things they can imagine about one another. Shiv calls Tom a “hick.” He tells her she is “maybe not a good person to have children.” She blames him for separating her from her father in his final months. He counters, “It’s not my fault that you didn’t get his approval.” The argument is brutal, and may mark a turning point for this show as it pivots toward the finale.Because unlike the tentative togetherness that ended the Season 4 premiere, this episode ends with Tom and Shiv in separate rooms, in deep pain. That’s a strong visual metaphor for where the “Succession” story stands right now. The tailgate party has broken up. Everyone has moved back to their respective sidelines. Welcome to rivalry week.Due diligenceLest you feel too much sympathy for Tom, remember that in this episode he makes goofy faces while Greg is firing dozens of ATN employees simultaneously via a group video call. Later at the party, Greg tries to impress the GoJo crew with his willingness to be heartless. (“You gotta do what you gotta do, right?” he says to Matsson, who replies, “Do you, though?”)Greg is “Team KenRo,” even though Kendall — like Tom — mainly expects him to perform morally objectionable tasks, such as finding some drugs that might make Matsson do something embarrassing. Greg agrees to try his best, despite warning Kendall that Matsson “has expressed a distaste in the past for my particular flavor of me.”The cases of terrible “biodynamic” German wine that Tom was stuck with last season return at the tailgate party, where he tries to fob it off on the guests. (Tom, pressuring Nate into drinking it: “It’s the kind of wine that separates the connoisseurs from the weekend Malbec morons.”)So when will Logan’s funeral be? The series finale, maybe? The past few episodes have been preparing us for a real humdinger of a ceremony, which is currently either going to be Marcia’s “three-day grief-a-thon” or Connor’s “tight 90.” One thing we do know: Roman will be delivering the eulogy, in what could be his last chance to convince the nation’s tastemakers that he is, contrary to his father’s opinion, a serious person.Connor, on spending time with Logan’s corpse: “The weird thing is how much he’s not there. I find that consoling.” More

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    ‘Succession’ Season 4, Episode 6: Cool New Rule

    This week, Kendall, Roman and Shiv are on a mission to impress the grown-ups watching them in what amounts to their public debut as the stewards of Logan’s legacy.Season 4, Episode 6: ‘Living+’The “Succession” world tour stops in Los Angeles this week, where the Waystar power-players are gathering at their Hollywood studio for Investor Day. The plan is to show off a line of state-of-the-art retirement communities called “Living+,” which Logan signed off on before he died. But secretly, Kendall and Roman are hoping their pitch will bump the stock price up so high before the GoJo acquisition that Lukas Matsson backs out of the deal.Less secretly, the brothers plus Shiv are on a mission to impress the grown-ups watching them, in what amounts to their public debut as the stewards of Logan’s legacy — which they each, in their own inadequate way, try to uphold.Let’s start with Shiv, and her ongoing covert communication with Matsson. Last week I speculated that the two of them may have them had conversations in Norway we were not privy to, about his negotiations with the Roy boys. This latest episode begins with a rejection of that theory, as Shiv and Matsson meet on her private jet and he surprises her with his description of how the meeting on the mountaintop went. Throughout the day she will keeps him posted on how things are going with Living+ — a Waystar initiative he plans to kill as soon as he takes over.Matsson’s words are still ringing in Shiv’s ears when she reaches Los Angeles and hears her brothers tell the Waystar executives that Matsson melted down at that last meeting — and that maybe they should think twice about recommending a deal to the board with “a person of this character.” Shiv knows they are lying to tank the deal, and that they are cutting her out of their play. Roman, genuinely sorry after she calls them out, asks her, “Can we do the huggy thing?” But she does not seem to be in a forgiving mood.As for Roman, he is struggling with the interpersonal part of being in charge. Because he has favors to bestow and firing power, he thinks everyone he deals with at Waystar should just take his money and do as he asks. But at a meeting with a studio executive, he first suffers through her offer of condolences — “Refused!” he jokes — and then groans when she complains about ATN’s far-right lean. Roman’s initial response is to troll, by making a snide comment about the “incredibly evolved, ruthlessly segregated” community of Los Angeles. Then he decides it would be easier just to terminate her.When Gerri finds out what Roman did, she tries to play the mentor again, warning that he is “a weak monarch in a dangerous interregnum” and noting, “You cannot win against the money.” He snaps back, saying she is being disrespectful and adding, “I need you to believe that I am as good as my dad.” She replies, “Say it or believe it?” So he fires her too. (“Shall we get started on the paperwork? Do you want to do it yourself or do you want me to get someone a bit sharper?”)Knowing he overstepped, Roman turns to Kendall, hoping his brother will play the Good Cop and clean up the Bad Cop’s mess. But Kendall is excited about them putting their own stamp on Waystar, and thinks these two firings may impress the markets. (“Some are saying these Young Turks might just have what it takes to turn things around,” he says, imagining what the business pundits might write.) Distraught, Roman excuses himself from the Investor Day pitch, figuring a solo Kendall will flame out and then the adults will finally step in and fix everything.It’s a reasonable assumption too, because Kendall is in full Icarus mode throughout this episode. There are few things more entertaining in “Succession” than Kendall in a boss groove, tossing out big ideas and buzzy business jargon at a rapid clip. While Shiv is the kind of boss who hates making decisions and makes fun of everyone else’s ideas, and Roman is the kind of boss who hates interacting with anybody who is not saying “yes sir,” Kendall is a hands-on boss, urging his team to be as excited as he is about taking huge swings.On this day, Kendall is trying to pump up the market potential of Living+, dubbing it a “price-rocket.” Talking rings around the Waystar accountant Pete (John Quilty), Kendall tries to get him to work some mojo with the spreadsheets, to see what would happen if they just, y’know, plugged in bigger numbers. (“Numbers aren’t just numbers, they’re numbers,” Pete sputters.) The gambit results in a prospectus promising such a high rate of return that Kendall, in a moment of clarity, chuckles, “It’s enough to make you lose your faith in capitalism.” He is then brought back down to earth by Frank, who threatens to blow the whistle if Kendall asks him to support a fraud.Frank’s complaint comes on the heels of Kendall’s dumbest setback of the day. Eager to get his Hollywood studio to make some magic on his behalf, Kendall asks for a scale replica of a Living+ house, with clouds rolling overhead. (He saw something like that in Berlin once, he explains.) In the episode’s funniest moment, Kendall arrives at the auditorium to see a slapped-together, half-finished house and “clouds” that are essentially a rapidly dissipating mist. The look of disappointment on his face is a work of actorly art from Jeremy Strong, who has a gift for playing those moments when Kendall’s over-the-top enthusiasm suddenly craters.Strong is even better in Kendall’s make-or-break speech for the investors. This is a tricky thing to perform, because the presentation has to be both corny enough to make the people who know Kendall wince in embarrassment, yet credible enough that a general audience could buy him as someone who knows what he is doing. The cringe moments are sprinkled throughout, like in the way Kendall repeats the phrase “big, big shoes” multiple times and in his tacky interaction with a video-screen showing his father, taken from a video Logan made to promote Living+. (Kendall also makes the dubious decision to have a sound effects engineer manipulate the video so that Logan says Living+ will “double the earnings” of the cruise business.)Yet at no point in the speech does Kendall lose control. He makes self-deprecating jokes. He builds a persuasive case for how personally enriching a Living+ facility could be. In touting the potential for this new business to extend its customers’ lives, he muses, “Would I take an extra year with my dad?” and says he absolutely would. (Shameless? Sure. But effective.) Even when he gets asked about a cruel tweet posted by Matsson during the presentation, Kendall is flustered for just a couple of seconds before saying, “I’m not gonna fave it.” The crowd laughs. The markets are kind. Matsson deletes the tweet. A stunned Shiv and Roman seethe.Look, this is “Succession,” so there is no reason to believe that Kendall’s triumph will be long-lived. Still, throughout the series, one of the recurring visual motifs for this character has been water: Kendall sinking morosely into a bathtub; Kendall falling face down into a pool; and so on. So it is telling that at the end of this episode, Kendall plunges into the ocean and emerges floating face up. On this day at least, he swims.Due diligencePity the poor director who had to ask Logan Roy to make his lines in a Living+ promotional video “a touch more upbeat.”So what is Living+, exactly? According to Logan’s video, it is an attempt to “bring the cruise ship experience to dry land” with exclusive Waystar content piped into a home with state-of-the-art security. Or, as Shiv describes it to Matsson, “Prison camps for grannies.”Does anyone give worse Waystar presentations than Tom? After Kendall leaves the stage, Tom steps into the spotlight and looks like a wild-eyed maniac, pointing into different parts of crowd and shouting, “You are an ATN citizen!”Because Roman bailed on the presentation, Kendall gets his sound-manipulation guy to make a video of Logan calling Roman pathetic and clueless (among other things). Roman, a masochist, plays the video over and over, forcing himself to take the same kind of punishment he used to get from his father.Shiv and Tom resume their weird flirtation/foreplay this week, which includes playing “bitey,” a game that involves biting each other on the arm until one person stops. (Shiv, after losing: “Tom Wambsgans! Finally made me feel something.”) Later they have sex, after which Tom takes accountability for betraying her by admitting he partly married her for her money. “If you think that’s shallow, why don’t you throw out all your stuff for love?” he says, with a bitter undertone and a sickeningly sweet smile. These two are made for each other. More

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    How a ‘Succession’ Actress’s Daughters Joined the Family Business

    In the first film Mouna and Lina Soualem made with their mother, Hiam Abbass, personal attachments went out the window: “There’s no time for that.”Hiam Abbass: I see you both as a continuation of my path, in a way. But I didn’t plan it. As a mother, I just wanted you to do what you wanted to do.Lina Soualem: Mouna, you always knew you would be an actress. I felt that because both our parents [their father is the French Algerian actor Zinedine Soualem] acted, I would never be as good as them, so I started working in journalism first. I think I had to go through that to find my voice.Mouna Soualem: I love your discipline and commitment [as a filmmaker], Lina. You don’t let go when you want something. It’s different being an actor, when so much is out of your control and sometimes you must let go or you’ll go crazy.H.A.: We can also let go in order to be somebody else. The first time the three of us collaborated, for my film “Inheritance” (2012), I was playing a mother, and you two were playing my daughters. When we’re on set, though, I don’t relate to you both as my daughters, just as you don’t relate to me as your mom. There’s no time for that.culture banner More

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    ‘Succession’ Season 4, Episode 4 Recap: A Coronation Demolition Derby

    Just when Logan’s inner circle thinks that it might finally be free of his mercurial nature, he springs one more annoying surprise.‘Succession’ Season 4, Episode 4: ‘Honeymoon States’How do you sum up a media giant and a political visionary like Logan Roy? The day after his death, the newspapers call him “a complicated man.” (Kendall’s translation: “Threw phones at staff.”) He was a “sharp reader of the national mood.” (Roman: “He’s a bit racist.”) He was “very much a man of his era.” (Kendall: “Again, racist. Also, relaxed about sexual assault.”) As Logan’s family, friends, employees and admirers gather at his home to mourn — and to plot — no one can seem to agree on who he really was. After reading yet another glowing tribute, Shiv jokes: “Dad sounds amazing. I’d like to have met Dad.”Yet just when Logan’s inner circle thinks that it might finally be free of his mercurial approach to business and family matters, he springs one more annoying surprise from beyond the grave. In Logan’s safe, the estate’s executor, Frank, finds a piece of paper from four (or more) years ago, naming Kendall as Logan’s preferred successor.But there are a handwritten notes and markings on the page — including a line partially under Kendall’s name and partially through it. Was Logan emphasizing that he wanted his son to take over? Or was he indicating that he definitely did not?After last week’s emotionally wrenching episode, “Succession” comes back with one of the funniest of the series, filled with quotable lines and sick burns. Any feelings of sadness or sentimentality among the Roy children fades as soon as they realize Waystar’s top executives — Frank, Gerri, Karl and Tom — are disappearing behind closed doors to begin what Shiv calls a “a coronation demolition derby.” The ensuing bumps and scrapes are perversely entertaining.On the old-timers’ side, everyone speaks with a brittle politeness masking deep hostility. Gerri puts herself forward as the logical choice to be chief executive, having already done it on an interim basis. When Karl balks, she delivers a wicked backhanded compliment, saying: “I think you’re a corporate legend. What you did in the ’90s, with cable? Huge.”Tom, meanwhile, insists that all he wants to do is serve, adding: “If there’s a ring, my hat is in. Respectfully.” To that, Karl suggests that the board might have questions about Tom, and he frames those “as a friend,” saying, “You’re a clumsy interloper and no one trusts you.”As for the Rebel Alliance — now possibly interested in rejoining the Empire, if the pay is competitive and management positions are available — they seem initially more united. They all jump on a call to one of Lukas Mattson’s lackeys, where Shiv waves away a question about which one of them is the leader, saying, “We’re a pretty fluid group.” But it is perhaps an ominous sign that she physically recoils after saying that. It is also not good that Mattson demands that one of the three fly out to GoJo’s strategy retreat within the next 24 hours. (Shiv: “You obviously know what happened here yesterday, right?” Lackey: “Oh sure, yeah, we really feel for you guys. Bad one.”)This is when Frank comes across the “rather worrying piece of paper.” (It is so worrying that he wonders if maybe it could be flushed down a toilet. He and Karl then clarify that they are merely “speculating in a comic mode.”) Both the old and young factions gather in an upstairs room, where Roman diminishes the document’s meaning, saying to Kendall, “This thing is old, and you’ve tried to put him in jail, like, 12 times since then.”One thing seems clear: Both the children and the Waystar executives want the GoJo sale to go through. After that, there will be no more Waystar to control and the siblings can proceed with their original plan to run Pierce Global Media together, perhaps now merged with ATN. Since the chief executive position would be temporary anyway, Kendall pounces, saying: “Anyone can do that. And since he said. …”Something about Kendall’s eagerness does not sit right with Roman and Shiv, although they have trouble articulating why. Maybe it is the gleefully vicious tone he takes when he snaps that Logan’s document “doesn’t say Shiv.” Or maybe it is the way he keeps trying to corner both of them, warning that they should not give the company away to Gerri or anybody else “just because we didn’t talk.”Ultimately, Roman buys the idea that the board and the markets might see Kendall’s pitch for himself as “same-old but with a vibe-y new banner.” And the executives come around when they realize they can package Kendall as a co-leader with Roman, who still has an official title as Waystar’s chief operating officer. Shiv is cut out of this leadership group. Her brothers insist that she is still a part of an unofficial triumvirate, but while she has them make “a Dad promise, on yesterday” (referring to how they all bonded in their shock and grief), she is so upset by the mini-coup that she falls down a small set of stairs while fleeing the house.There are other power-plays afoot this week. Logan’s estranged wife Marcia (Hiam Abbass) is no longer — as Kerry once said — “shopping in Milan, forever.” She conspicuously positions herself as a greeter at the wake, asserting that she still spoke to her husband every day. She also refuses Kerry entry to the upstairs and has her removed from the premises, right as Kerry is gathering her personal effects and nervously babbling to Roman about Logan’s big plans for her.And then there is Tom, as always treading the line between “sweetly helpful” and “snaking around.” He tries to show Shiv some kindness, reminding her of when they first got together and how he flew to France to be with her. Shiv, as uncertain as the rest of us as to whether Tom is merely making a play, replies coolly, “That was a while back.”It is Kendall, though, who ends the day in the lead. He and Roman entertain a pitch from Hugo and Karolina about strengthening their executive bona fides by getting it out into the press that Logan was a mentally unstable abuser who had not really been in charge of Waystar in years. Roman nixes this unequivocally. But Kendall — who knows that Hugo has some potential insider-trading trouble to bury — comes to him privately about the “Bad Dad” plan and says, “Action that, but soft … no prints.”Before he meets with Hugo, Kendall is staring at a picture on his phone of Logan’s sloppy succession plan — and his own crossed-out or underlined name. The old man remained inscrutable to the end, for sure. But the sickening smile on Kendall’s face right before the credits roll raises questions, too. Is he smearing Logan because, as he claims, that is exactly the kind of nasty maneuver his father would pull? Or is Kendall still bent on revenge?Either way, one thing is sure: Kendall is his father’s son.Due DiligenceThe title of this episode, “Honeymoon States,” refers to the itinerary Connor has set for his post-wedding travels with Willa: Wisconsin, Minnesota, Michigan, Pennsylvania … all swing states in his presidential campaign. Connor also moves without Willa’s permission to buy Logan’s home from Marcia for $63 million. When Willa reminds him of the old advice not to make big decisions while still in mourning, he counters with, “They also say it’s pretty smart not to pay Realtors’ fees.”As the nation’s conservative thought leaders — who call Logan “L.R.” — raise a toast to “a man of humility, grace, dignity,” Tom can’t resist leaning over to Greg to whisper, “who died fishing his iPhone from a clogged toilet.” (Rumor has it Karl clogged it.)Greg is briefly allowed into the meeting about Logan’s estate, where it is noted that Greg is “an addendum of miscellaneous matters, in pencil, with a question mark” on the controversial piece of paper. When he asks hopefully whether Logan meant for him to be Kendall’s second-in-command, the ensuing riotous laughter is probably about as joyous as anybody in that room feels all day.We need to talk about Shiv’s big news, which she does not share with anyone in this episode. In the opening, she gets a phone call from a doctor about a test that shows “everything looks healthy,” and she hears that she will have to come back for “the 20-week scan.” It is strongly implied that Shiv is pregnant — which makes her tumble later in the episode more alarming.Speculation corner! If Kendall keeps playing hardball, how long until his siblings make use of what he confessed to them last season about accidentally killing a cater waiter? (Also: Shiv is definitely going to fly off to see Mattson within the next 24 hours, right?)This whole episode is about how nobody really knew Logan. (Was he a neocon? A paleo-libertarian? An anarcho-capitalist?) This point is driven home further when Waystar’s new co-chiefs, Kendall and Roman, step into Logan’s office at the end of the episode and are surprised to discover that their father liked to do Sudoku puzzles. More

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    Unpacking the Roy Family in That Pivotal ‘Succession’ Episode

    The Roy family has never felt more human than it has in this season’s third episode — or more alien.In her 1969 book “On Death and Dying,” the psychiatrist Elisabeth Kübler-Ross described the five emotional stages of people at the end of life: Denial, anger, bargaining, depression and acceptance. Kübler-Ross’s model has since been popularly applied to the grief process. The implication is that all of us who live, love and die are in this way the same.“Succession” appears to have done its psych homework. In the tour-de-force episode “Connor’s Wedding” — spoilers begin here — the Roy siblings learn by phone of their father Logan’s fatal collapse, while he is on a jet crossing the Atlantic, and begin racing through Kübler-Ross’s stages.One part of the show’s genius has always been its portrayal of the superwealthy Roys as both deeply human and alien. As it is in life, so it is in death. The Roys’ reactions are, broadly, familiar to anyone who’s ever gotten similar news. It’s in the particulars that this family is very different.Let’s start with denial. In one sense, Logan’s death may be the least surprising big surprise in HBO drama history. His health has always been shaky, and the show’s very title asks what or who will come after him. But when the inevitable suddenly happens, instinct still kicks in: This can’t be real.“Real,” as any viewer of “Succession” knows, is a key word for the Roy family. It’s a measure of worth, separating people who are “real” — important, worthy of concern — from those who are merely numbers on a ledger.It’s also a fraught term for characters who grew up in a, shall we say, low-trust environment. “Is this real?” Shiv (Sarah Snook) asks, with good reason, when Logan (Brian Cox) offers in Season 2 to let her take over his media empire. It’s the series’s refrain: This deal, this promise, this expression of love — can I take it to the bank?So when Roman (Kieran Culkin) manically refuses to accept the news — “What if it’s a big [expletive] test?” — yes, he is being irrational. But he is also operating by the logic of the only reality he has ever known. What isn’t a test with Logan? His last words to Roman were to order him to fire his lieutenant Gerri (J. Smith-Cameron), with whom Roman had a bond (and occasional rounds of masochistic sex chat). When Roman hesitates, Logan asks, “You are with me?”About Logan’s death, Roman keeps repeating, “We don’t know.” And the episode, written by the creator, Jesse Armstrong, and directed by Mark Mylod, cleverly puts the viewers in his position. We can see inside the plane, but we can’t see much of Logan, only the crew performing compressions on a body. Only when Shiv spills her frenzied last words into his cold ear do we finally see his face. I will admit to having wondered if Roman was right. Yes, it would be insane for Logan to fake his death. But a side effect of growing up Roy is learning to read your most intimate family moments as potential plot twists and fake-outs.Anger and bargaining, in Roy World, tend to operate as a team. There’s anger at Logan, of course. Each Roy child sputters a word salad of love and hurt and fury into the phone. But anger is also a reaction to helplessness. Kendall (Jeremy Strong) demands to have “the best airplane medicine expert in the world” brought onto the call, growing frustrated and incensed, as if he could cheat Death by demanding to speak to its manager.From the beginning of the phone call to when we cut to the corporate-response discussion aboard the plane is less than 20 minutes, and Armstrong packs a lifetime into it.Every line, every image, speaks to the moment and to decades of family trauma and relationships: Roman’s forcing himself to say that Logan was a good dad, then handing off the phone like it’s radioactive; Shiv’s becoming at once a terrified girl and a furious grown daughter; Kendall and Shiv’s holding hands as they go to break the news to their half brother, Connor (Alan Ruck), on his wedding day. (Ruck has done spectacular emotional work with comparatively little screen time, and he does it again here: “He never even liked me.”)By the time we return from the plane to the wedding yacht in New York, depression is creeping in. And acceptance — well, that too has a different meaning in this family.Logan (Brian Cox, left) as seen with Tom (Matthew Macfadyen) moments before Logan’s plane ride flies him into the Great Beyond.David Russell/HBOThe Roys live in an environment where everything is personal and nothing is entirely private. Your family is your family, but it’s also a business. Your father’s death is your father’s death — bound up with a lifetime of resentment and thwarted love — but it is also a “material event” that requires disclosure. (“Succession” is known for its clever, filthy dialogue, but it also has an ear for the bland brutality of business-speak.) Your emotions may be complicated and genuine, but their expression is inevitably tactical. As Kendall says, “What we do today will always be what we did the day our father died.”Your father is the man who loved you or hit you or molded you or disappointed you, but he is also an expensive corporate asset, an asset that has now failed. And its failure must be announced and adjusted to, even as you adjust to the fundamental reordering of the universe.The dialogue shifts seamlessly from shock to grieving to maneuvering. The firmament has shattered. God — or the devil, or both — is dead. That vacuum must be filled, and the deluge prepared for, whether you are family, staff or, like Shiv’s estranged husband, Tom (Matthew Macfadyen), an unhappy bit of both. “I have lost my protector,” he says, like a “Game of Thrones” bannerman realizing that his head may soon part company with his neck.It’s a bold and potent move for Armstrong, who has one of TV’s greatest actors in Cox, to give us none of this from Logan’s point of view. We don’t know what he was thinking at the end. We, like his children, don’t know what he felt or if he heard their last words. There is no closure, no satisfaction. He will forever be a question mark at the center of the universe.Instead, a scene from the season’s first episode amounts to his last testament. Restless and unsettled at a birthday celebration that Kendall, Roman and Shiv have chosen not to attend, Logan ends up at a diner with his body man, Colin (Scott Nicholson), whom — is it possible to pity Logan Roy? — he calls his “best pal.”To his wary companion, Logan launches into what now sounds like a deathbed monologue. “What are people?” he asks Colin, and then answers his own question: “What is a person? It has values and aims, but it operates in a market. Marriage market, job market, money market, market for ideas, et cetera.” And while he is a winner in the judgment of the market — “a hundred feet tall” where most people are “pygmies” — he doesn’t seem to feel like one.At last, he asks Colin whether he believes in the afterlife, and again, Logan supplies his own answer. “We don’t know,” he says. “We can’t know. But I’ve got my suspicions.”Those suspicions were confirmed or denied on an airplane floor thousands of feet above the Atlantic Ocean, a most appropriate choice for “Succession.” The series is about people untethered to place, who move from vehicle to vehicle, from one antiseptic luxury space to another.So this is a most fitting end for Logan Roy — to die in no country, in the expensive no-space of a corporate jet, his last moments relayed to a yacht docked off the financial district, where the market will weigh and digest his death as it does all human effort and sorrow. As Roman says, a plunging chart line on his phone indicating Waystar Royco’s share price: “There he is. That is Dad.”There is one vehicular transfer left for Logan Roy. We end the episode at Teterboro Airport, where his shrouded body is deplaned and loaded into an ambulance. Kendall looks on, taking a private, pensive moment before what comes next: The period when his father’s passing becomes a news event, and most likely, a contest.Denial, anger, bargaining, depression and acceptance belong to us all. But for a Roy, there is a sixth stage of grief: ambition. More