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Days later, Megan Greenwell, the besieged editor of the real-life website Deadspin, posted one last story, under the title “The Adults in the Room,” warning of the impact of people just like the Roys. “A metastasizing swath of media,” she wrote, “is controlled by private-equity vultures and capricious billionaires and other people who genuinely believe that they are rich because they are smart and that they are smart because they are rich, and that anyone less rich is by definition less smart.” This sort of helpless rage is now the natural state of a certain class of Americans. It nodded in that direction earlier this season, when one of the Roy sons, Kendall, was called upon to close a fictional BuzzFeed/Gawker-style website the family owned. If they can stop fighting one another. It’s a struggle that turns bloody, and requires the taking of sides, when Roy’s health issues present Kendall with a chance to shake things up.Meanwhile, a second set of performers, in their own connected but distinct plots, provide the comic relief: Alan Ruck as the oldest sibling, son of Roy’s first wife, who makes a show of staying out of the business while sticking his nose in wherever he can; Nicholas Braun as a bumpkin cousin who stumbles into a role at the company; and especially Matthew Macfadyen as the sister’s fiancé, a feckless suck-up out of a Waugh novel who’s Mr. Armstrong’s most original creation.But the Roys’ battles over board seats, trusts and emotional codependence are meant to be taken seriously, and the problem with “Succession” is that the drama, while proficiently made and well acted, doesn’t have enough of a charge. Now, the stable footing of adulthood belongs to the über-rich, who are pulling the rug out from under everyone else.In the best moments of “Succession,” though — and there are a lot of best moments — it’s not really interested in ratifying our rage. Inciting the audience to jeer at these “terrible people” often feels like part of its game. Their arrogance isn’t exactly a pose, but it gets them only so far.This is, of course, because “Succession” is a drama, and the job of the dramatist is to surface ironies that characters — and, often, the audience — can’t see themselves. The cast of the Emmy-nominated HBO drama, a surprise hit in its first season, discuss the challenges of Season 2 and what’s so relatable about a family of horrible rich people. I’m not sure its characters think of themselves as “smart because they are rich,” or smart at all. But it’s just as deft at manipulating its viewers’ feelings.For more than two decades, the professional class has soothed its Sunday-night dread with prestige television’s tales of striving, scheming, anguish, greed and office politics. The distinguished Arab-Israeli actress Hiam Abbass provides some gravity as their stepmother, Roy’s apparently loyal wife, who will almost certainly turn out to have her own agenda.These actors carry the water in the main story line, where Kendall (Mr. Strong), the older brother, tries to bring the company into the digital age (and stay sober) despite his father’s conservatism. “Succession” (airing Sundays, on HBO) opens with the billionaire media mogul Logan Roy (Brian Cox) rumbling out of bed in the pre-dawn hours of his eightieth birthday. Even when they do not see, or know, us. Theatrically, but also delicately (Tom is a gentleman), he gnaws off a few morsels of dry-looking flesh, then flings the rest back onto Logan’s plate.“What the [expletive]?” asks the patriarch, looking on incredulously.“Thank you, Logan,” Tom says, his mouth still full. “Succession” is written by people who are smart enough to have anticipated the catharsis viewers might find in that scene.
What better way to steel oneself for the workweek?Each of those shows, though, offered some kind of escape: to the world of organized crime, or the past, or dragons. Hence the Chicken. There are families this wealthy in real life, of course, But there’s another family that the Roys resemble nearly as much, not in biographical detail but in style and tone: the Bluths of “Arrested Development,” Which is interesting, or at least odd, because “Succession” is primarily a straightforward family-dynasty melodrama, wrapped in chilly but ostentatious displays of wealth and favoring overheated profanity as a communication method. Brian Cox is predictably fine as the patriarch, Logan Roy, whose absent-minded benevolence is often swamped by deep tides of anger and hurt pride.Jeremy Strong and Kieran Culkin do good work as the sons who fight for power within Waystar Royco while hungering for their father’s approval, as does Sarah Snook as their sister, a political consultant who watches from the sidelines. The gesture itself is the point, an end in itself, a shout to the Logan Roys of the world:“Succession” is written by people who are smart enough to have anticipated the catharsis viewers might find in that scene. Watching, I certainly felt a small cheer rise up in me — But then I feel the show knows me and my media-obsessed ilk almost too well. Not everyone agrees.
They seem self-conscious about being “terrible people,” hyper-aware that what they do is destructive.
Days later, Megan Greenwell, the besieged editor of the real-life website Deadspin, posted one last story, under the title “The Adults in the Room,” warning of the impact of people just like the Roys. “A metastasizing swath of media,” she wrote, “is controlled by private-equity vultures and capricious billionaires and other people who genuinely believe that they are rich because they are smart and that they are smart because they are rich, and that anyone less rich is by definition less smart.” This sort of helpless rage is now the natural state of a certain class of Americans. It nodded in that direction earlier this season, when one of the Roy sons, Kendall, was called upon to close a fictional BuzzFeed/Gawker-style website the family owned. If they can stop fighting one another. It’s a struggle that turns bloody, and requires the taking of sides, when Roy’s health issues present Kendall with a chance to shake things up.Meanwhile, a second set of performers, in their own connected but distinct plots, provide the comic relief: Alan Ruck as the oldest sibling, son of Roy’s first wife, who makes a show of staying out of the business while sticking his nose in wherever he can; Nicholas Braun as a bumpkin cousin who stumbles into a role at the company; and especially Matthew Macfadyen as the sister’s fiancé, a feckless suck-up out of a Waugh novel who’s Mr. Armstrong’s most original creation.But the Roys’ battles over board seats, trusts and emotional codependence are meant to be taken seriously, and the problem with “Succession” is that the drama, while proficiently made and well acted, doesn’t have enough of a charge. Now, the stable footing of adulthood belongs to the über-rich, who are pulling the rug out from under everyone else.In the best moments of “Succession,” though — and there are a lot of best moments — it’s not really interested in ratifying our rage. Inciting the audience to jeer at these “terrible people” often feels like part of its game. Their arrogance isn’t exactly a pose, but it gets them only so far.This is, of course, because “Succession” is a drama, and the job of the dramatist is to surface ironies that characters — and, often, the audience — can’t see themselves. The cast of the Emmy-nominated HBO drama, a surprise hit in its first season, discuss the challenges of Season 2 and what’s so relatable about a family of horrible rich people. I’m not sure its characters think of themselves as “smart because they are rich,” or smart at all. But it’s just as deft at manipulating its viewers’ feelings.For more than two decades, the professional class has soothed its Sunday-night dread with prestige television’s tales of striving, scheming, anguish, greed and office politics. The distinguished Arab-Israeli actress Hiam Abbass provides some gravity as their stepmother, Roy’s apparently loyal wife, who will almost certainly turn out to have her own agenda.These actors carry the water in the main story line, where Kendall (Mr. Strong), the older brother, tries to bring the company into the digital age (and stay sober) despite his father’s conservatism. “Succession” (airing Sundays, on HBO) opens with the billionaire media mogul Logan Roy (Brian Cox) rumbling out of bed in the pre-dawn hours of his eightieth birthday. Even when they do not see, or know, us. Theatrically, but also delicately (Tom is a gentleman), he gnaws off a few morsels of dry-looking flesh, then flings the rest back onto Logan’s plate.“What the [expletive]?” asks the patriarch, looking on incredulously.“Thank you, Logan,” Tom says, his mouth still full. “Succession” is written by people who are smart enough to have anticipated the catharsis viewers might find in that scene.
What better way to steel oneself for the workweek?Each of those shows, though, offered some kind of escape: to the world of organized crime, or the past, or dragons. Hence the Chicken. There are families this wealthy in real life, of course, But there’s another family that the Roys resemble nearly as much, not in biographical detail but in style and tone: the Bluths of “Arrested Development,” Which is interesting, or at least odd, because “Succession” is primarily a straightforward family-dynasty melodrama, wrapped in chilly but ostentatious displays of wealth and favoring overheated profanity as a communication method. Brian Cox is predictably fine as the patriarch, Logan Roy, whose absent-minded benevolence is often swamped by deep tides of anger and hurt pride.Jeremy Strong and Kieran Culkin do good work as the sons who fight for power within Waystar Royco while hungering for their father’s approval, as does Sarah Snook as their sister, a political consultant who watches from the sidelines. The gesture itself is the point, an end in itself, a shout to the Logan Roys of the world:“Succession” is written by people who are smart enough to have anticipated the catharsis viewers might find in that scene. Watching, I certainly felt a small cheer rise up in me — But then I feel the show knows me and my media-obsessed ilk almost too well. Not everyone agrees.
They seem self-conscious about being “terrible people,” hyper-aware that what they do is destructive.