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Spoilers and such!

Gotta keep working on the huge Barry essay, but I wanted to touch on all this. Because last year I actually wrote the big piece about the modus operandi of the show, specifically the way it characterizes the lives of these proud and pitiful people, and crucially does so without ever once wanting our empathy. And here in the end, I just had to take a second to write about the core idea of the finale. For it was not what I expected exactly, but it was the only way it could have gone. Precisely because everyone reverted to their natures. Kendall went alpha smug. Roman caved inward. Shiv made her moves, got screwed for mostly sexist reasons, and in the end could not abide the propagation of the system (and family members) who don’t even really see her. And as a result, Kendall came short in yet another big vote. But of course that happened. Because there was no reason to believe anything had really changed in them. There was zero growth here. I mean, even in the end, Kendall even remained in denial of the kid he left for dead. That’s because Kendall was still a seven year old, desperately clinging to the thing his dad promised.

What made it all so disarming was the fake out. Well, less of a fake out, and more the way the show suddenly opened up and showed the biggest elements of what little warmth they have in their humanity. The siblings got playful and were too loud for their mom. Roman licked the precious cheese of their stepdad as they all concocted childhood games. There was even a video of Logan Roy singing an old British folk song. It started going on so long that there was some small part of me that thought “wait, could this really end HAPPILY?!?!?!” But of course not. Not for these people. And the scene that conveys so much about why is the “meal fit for a king,” clearly their childhood rendition of spoons where the loser has to eat a spoonful of something nasty. Of course, Kendall turned it into his inverted crown on top of him. The gross crown of shit. And it was then it all struck me. They can never have those positions…

Because they don’t understand what power actually means.

To wit, there’s the amazing scene in The Wire where an old mayor explains why he he never sought reelection and he goes onto to tell the story about how he thought it would be some prestigious job, but every day he had to eat the bowls of shit from the interest groups at large. That’s all the job turned out to be. Every day. Just eating bowls of shit. So he went into comfy law. But in the end that’s the people who climb ladders and get named for prestigious positions where really they have to is eat the bowls of shit and “yes” along the machines of power.

So of course it was Tom.

He was the one who was always happy to eat the bowls of shit (or not happy, but he did it). Or you can put him in his little shit crown and he knows what people think of him. He doesn’t care as long as he moves up. The crown is the crown. But the Roy kids? Oof. They are their father’s children and thus inherited his ego. See that’s the whole thing. Logan Roy created his empire precisely because he could never do any of this. I even quoted Logan in that old piece where he says it outright: “I can't eat shit. I just can’t do it.” But hey, he knew deeply the pains of poverty and smallness and thus became the old school empire builder precisely so he could get away with it. But it’s the successors who have to play a different game. Only problem is that they were born into a life of luxury and the only shit they could ever eat was from each other.  Which is why they’re so thin skinned with every other human being. Kendall HAD to be taken seriously or he’d literally lose his mind. Roman constantly fell into his complexes. And Shiv had to fight to even get in the conversation. So it was Tom, the one who remained hopelessly inelegant in his shit-eating capabilities all the while.

Somehow, he was the most serious person.

<3HULK

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Comments

Lauren R

The shot of Tom walking down the hall with his back to the camera as a perfect recreation of Logan from the opening credits was *chef's kiss*.

Anonymous

With this and Barry both ending, last night was almost too much. Not only are they two of the darkest comedies I've ever seen (arguably my favorite "genre"), but also just two of the best shows I've ever seen. Not sure if you've checked out Beef on Netflix, but I highly recommend that to anyone with a dark comedy hole to fill now that these two shows are done. Can't wait for the Barry essay!

Anonymous

first of all hulk, i hopped on this show between seasons two and three because of how highly you spoke of it and i hold it close to my heart. i don't see many people talk about this show in terms of an emotional connection. honestly i'm troubled by how quick people are on social media to dismiss the characters as terrible people, and the shallow takes that they arrive at accordingly. these characters are terrible people by any metric, no doubt. to the extent that you can boil people down to good or bad, these ones are bad. and you're not wrong that the show doesn't ask for empathy. but i also don't feel that this show feels above its characters the way many viewers do. it understands that they were fucked from the get go. they were robbed of the most important ingredients for a person capable of love and integrity. and as much as it plays the bleak comedy of their lives, for their obliviousness is hilarious, it is essentially a tragedy for every one of these characters. i hope i'm not misattributing this but as i recall, years ago you wrote a column on mad men where you framed the character arcs, not as forward growth or development, but "unraveling." that stuck with me as a fitting way to read a show about breaking the spell of artifice. that show ends on a more optimistic note, albeit not straightforwardly so. but it follows that journey of people struggling to maintain their careful facades until their lives spin out of control and their fundamental brokenness is exposed. succession ends much darker, partly i think because it's capturing an era that is still ongoing and can't be neatly ushered out with the start of a new cultural phase. but like mad men, i think of it somewhat as a story of people unraveling. kendall, certainly, has unravelled himself into a hell of his own making. there's no going back for him now. his pattern of peaks and valleys is familiar at this point, and he has shown himself capable of finding more fuel for his bullshit at low moments, over and over. but this time there's no more logan, no more waystar, and most heartbreaking of all, he has undone a crucial, rare moment of realness with his sibs from the season three finale. the way he desperately backpedaled his manslaughter confession so he could still be ceo, thus sealing his own fate... i knew it was gonna come into play this episode after he recruited colin last week, knowing what colin knows about kendall, but the way it happened could not have been more devastating. and the way colin looms over him, out of focus but squarely in his gaze, in the final frame. haunting. pretty much every character's ending is some version of this, though not necessarily carrying the same feeling of dark finality. shiv is still in the world of waystar, still within arms reach of the crown, but has to face the future in an irrevocably broken marriage, with a man she never took seriously who has now definitively outplayed her (of course matsson's sexism is really to blame, but she always thinks she can connive her way around sexist systems and fails to recognize that it only gets her so far) and much like kendall, her last moments feel an awful lot like a personal purgatory. roman's only recourse to dignity has always been "not giving a fuck" and now everyone knows who he really is: a posturing, scared little boy, and a punching bag for the bigger bullies around him. he never stood a chance in this family because he was stuck in the role of the youngest boy, just a prop for the others to flex their power, and his efforts to logan-style steamroll his way into the big chair did nothing but expose his vulnerability to the world. greg tried to make moves to improve his position, just like he was taught, but will seemingly never escape tom's leash. even connor looks to be in for his own unravelling, judging by the look on willa's face in their last scene. nobody gets to maintain their delusions of grandeur and upward momentum, except for tom, whose only artifice is his steadfast composure as he willingly eats shit over and over, quietly dying inside. to my earlier point, it's not obvious to find an emotional connection with these grotesque characters, but in a macro sense this show is expressing things i find incredibly fucking relevant and personal and human. increasingly these days i see versions of these characters' psychological condition everywhere. obviously with the big awful cartoon characters holding the levers of power, the trumps and the musks and all the unserious people making fools of themselves before the world. but i've done battle with my own fakeness in ways i see reflected in roman and kendall, and i see average, middle/lower class people who process the outside world in a one-dimensional way not that different from the rich business elites on this show. social media and the culture growing out of it is like a cancerous, self-perpetuating extension of fox news (or atn). not to be too luddite about it but having access to the whole world from your phone, or at least something presenting itself as a sizable slice of the whole world, must be something akin to the life of the uber rich in some small way. the convenience turns you into a bored god, the view of so much humanity -- manipulated as it is by algorithms -- renders you unable to see humans as more than a faceless mass. this show helps me make sense of it, seeing it as a refraction of an old pain, distorted through a generation of privilege and emotional neglect. and i'm glad we got one more sequence with the siblings being real human beings with each other. it might be the last time they do this together, but you can extract them from the twisted world of machiavellian business dealings for even just a moment, plop them into mom's kitchen, and see a genuine warmth return to their faces. you need that solace to get through the tragedy to come, and to make it tragic in the first place. every time these characters do something shitty, you know it's because there's a humanity buried deep that they've been conditioned to revolt against, to hide themselves, because they see it as weakness. but hey, at least it's there.

Anonymous

lol i spent $5 to become a patron so i could talk about this finale here. the power that this show has.

conzeit

if anyone is looking for good commentary on Succession from another angle, Dr Ramani on youtube, a narcissisim expert made a breakdown of every S4 episode, as she believes this is the best study of narcissistic personality to date

Anonymous

My partner and I are now watching Succession and Barry purely because of your first sentence "I just want to touch on all of this". That is the power of your recommendations lol. But more than anything I want to comment to recommend some content. What follows has an energy that cannot be explained, I can't explain why I know you'll like it, but I know you'll like it. the tagline is "Watch some of Australia's finest comedians descend into madness..." without ado it's the: Most Upsetting Guessing Game in the World (from Aunty Donna and Grouse House) https://www.youtube.com/watch?v=1t9rIgDVRYE Yes it's 87 minutes, and it's worth every 1 of them.

Anonymous

The thought that came to me watching the finale is that this show is like the mirror image of Breaking Bad. Like if that show is all about showing a character slowly changing over time, Succession is a show about characters that can't change even when given every possible opportunity to.