Variety critic carolineframke on how Succession won her heart with Shakespearean flair and morally bankrupt slime puppies
” that I realized I was standing. At some point during the exhilarating final scene, I’d apparently leapt to my feet, radiating with the thrill of watching the last meticulously placed domino fall. It was startling to understand just how invested I’d become in the show, especially because just a few months ago, I didn’t care about “” at all. In fact, I was an active skeptic, having watched three episodes before discarding the series for one of the dozen others waiting on the backburner.
Much has been made of Armstrong’s connection to Armando Iaunucci, the creator of the hyper-vicious political satires “Veep” and “The Thick Of It,” the latter of which counted Armstrong as a writer. You can draw a straight line from Malcolm Tucker seething “fuckity bye” to Logan Roy grunting “fuck off,” or anything lobbed at Jonah Ryan to the florid insults thrown at Cousin Greg.
“Shakespearean” is also one of the best ways to describe the airtight structure of “Succession.” While the first season was strong, the second proved masterful with its command of pace and themes. It dropped hints that weren’t exactly subtle, but didn’t need to be when the payoff was so satisfying. It picked up seemingly stray threads, like the ticking time bomb of the company’s disastrous cruise division, with purpose and clear intent.
The moment when the relationship between Roman and the Roy’s steely general counsel Gerri goes from maternal to overtly sexual is one for the TV ages. Roman craves validation and a metaphorical spanking; Gerri is, despite herself, too amused and intrigued to back away. Roman gets off on her humiliating him, while Gerri gets to verbalize the disdain that’s been vibrating behind her narrow glares all along.
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