#which you might say is ultimately down to the power dynamics (shiv can do more for tom than he can for her and tom can do more for greg)

[bitchthefuck1]

Tom's line about Shiv being selfish and "find[ing] it very hard to think about me" is actually so telling because while it's absolutely true that she rarely takes his position into consideration, Tom never once thinks about what he can do to help Shiv unless it also benefits him.

Every single time he makes a move or sacrifice that might help her, it's always something that he thinks will give him a leg up. He volunteers to take the fall for cruises, not for Shiv, who is in no way implicated, or even for Waystar, but because he thinks it'll ingratiate him to Logan, and the second it seems like he might have to actually follow through on that, he immediately tries to get out of it and even throws Shiv under the bus. Meanwhile, for all that Shiv disregards his interests, there are a number of things she does that only help him, and she's the one who actually sacrifices something and undermines her position with Logan to beg him not to let Tom go to jail.

It just makes it so clear that no matter how much he might love her (and I think he does, in his own compromised way), for him their relationship was always built on the underlying assumption that it's her job to prop him up, but it's not his job to help her.

#i rewatched that ep a few days ago and this was just cooking in my brain for a bit #their relationship is so messy and interesting i want to watch them get a divorce on a loop forever #and like. the wildest thing is that Tom does occasionally do things that don't serve him to help someone else. but its always greg #which you might say is ultimately down to the power dynamics (shiv can do more for tom than he can for her and tom can do more for greg) #but there are still plenty of points where tom actually does have the power to help shiv and chooses not to #and I love how succession never really has a clear 'what this character is telling you is 100% the truth of the story' moments #anytime a character is making a statement like 'this is who you are/who i am' or 'this is what i really want/what you really want' there's #always some kernel of truth to it but the narrative they're spinning is almost never fully honest #you can't take any of it at face value and it's such a good way of showing how they're always on some level 'playing the game' #and like. at a time when so many stories are basically spoon-feeding their audiences it's so nice to have a story that trusts you to #sort through it all and see what's real and what's not and rewards you for putting that work in #succession #4x07 tailgate #succession season 4 #failmarriage #shiv roy #tomshiv #tom wambsgans #siobhan roy

[runcible-spoons]

so with caveats that you have two more seasons to go, do you think Logan loves his kids? I have my own thoughts on that and how he shows it, but always love your takes

Ooh this is such a difficult question & before I get into it, there’s an important caveat to be made. Love and/or good intent absolutely does not negate or change the impact of abuse. In no way do conclusions about Logan’s love/lack thereof change the kids’ experiences or the validity of those experiences. I've put the rest under the cut.

There are also mentions of abuse, physical and emotional (no CSA though).

So. Getting that out of the way, none of this is a “but he loved them”

I mean, first—before getting into my actual opinions—I think it’s more impactful to imagine he does. It allows for a more interesting examination of his motives, and I think contributes a lot in terms of the show’s (explicit?) examination of the dynamics of familial abuse.

That’s to say it captures the ways in which abuse is enacted generationally because of habituation to profoundly fucked up dynamics.

There’s no question that Logan wields “all of this is in your best interest” as a club to tamp down anyone’s (rightful) hurt against him. There’s no question that his focus on “strength” to the detriment of pretty much anything else causes tremendous consequences for Kendall (and Shiv. I haven’t made up my thoughts about Roman yet).

There is, however, a very specific shot that backs me up when I’m speaking about the intergenerational continuation of abuse: in 01x07 “Austerlitz,” when Logan exits the pool and you see the latticework of scars on his back. That, coupled with other allusions from the episode which I’m not remembering, makes a pretty strong case (as far as the show ever makes things explicit) to suggest that Logan experienced some pretty significant physical abuse (during his childhood).

I’m going to keep repeating it preemptively—“he didn’t know better” is not at all an acceptable excuse to make as I head into my next point.

Yeah, in my own interpretation of the show, Logan does love his children. He’s such an incredibly fucked up man, though, so that in no way creates anything approximating a “good” childhood/family environment.

Does his continued emphasis on “strength” stem from his own horrific experiences when he was (a powerless, dependent) child? That certainly explains some of his “parenting.” Might it also in a very perverse way lead him to continuously keep down his own children’s success as well? Sure. The childhood dynamics which led to his ruthless behavior (and ultimate relative safety from physical harm) don’t just end when he’s an adult—nor are they restricted to the competition of his peers.

Does the children’s hyper-priveleged upbringing—both materially and in terms of the degree of “protection” (not without cost) their father is able to provide due to his power—seem like the antithesis of a childhood which (and taking the narrative with a grain of salt) prompts the bootstraps narrative that Logan presents? well.

I’ve realized this is getting ridiculously long.

TL;DR: Ultimately, all I’m saying is that I think the intergenerational continuation of abuse—which includes an effort to provide “a different (better) experience” but also includes a denial of real harm perpetrated because “you don’t know what it’s like to really have it bad” (with an implicit “I can always make it worse”)—is perhaps a lot more interesting than an interpretation which reduces all of Logan’s flaws to “well, he must not love his children because he hurts them. He’s simply evil.”

Many more thoughts, but I think I’ll leave it at that!

#thank you so much for the ask! #I'd love to hear your thoughts at some point too! #cauldronofmorning #ask #christian's successionposting #WOW just realized I of course forgot to tag content warnings #abuse #child abuse

[stevenuniversallyreviews]

Episode 103: Bubbled

“If I could begin to be half of what you think of me, I could do about anything.”

In the middle of Act I of Steven Universe, Steven saves the Atlantic Ocean, and in the middle of Act II, he saves Earth. These are large-scale victories that show his growing capabilities as a Crystal Gem in the global sense: he’s a defender of the world and all its inhabitants, and has two major accomplishments to show for it.

The end of Act I is more of a personal fight. The only lives at stake are those of the Crystal Gems as they’re brought into space, and Steven takes a more passive role in the finale, helping here and there but ultimately having the day saved by Garnet (and, arguably, Lapis). And it turns out the pattern of a more extreme sequel in Act II continues: in Bubbled, the only life at stake is his own, and despite being far more competent than he was in Jailbreak, he needs to be saved by others once again, because he’s been shattered.

As with Jailbreak, Steven spends a good part of Bubbled with another ornery ruby who gripes “Great! This is just perfect!” and barely gives him the time of day at first. In both episodes he tries and fails to help this ruby: our Ruby runs off on her own in impatience, and Eyeball tries to shank him and must be ejected from his bubble. But something interesting happens when you compare these rubies further, because beyond their opposing loyalties, there’s one major difference between the two of them: Ruby has such a low opinion of herself that she doesn’t think it matters whether or not she gets hurt, while Eyeball has such a high opinion of herself that she dreams of being the hero who defeats Rose Quartz, complete with glory from the Diamonds (and her own pearl). And really, this is one of the things the show is all about.

The flaws of practically every character in Steven Universe come down to the dichotomy between insecurity and overconfidence. At a glance, we can read our heroes as insecure and our villains as overconfident (Pearl and Amethyst good, Jasper and Kevin bad), but the actual lesson is that everyone has insecurities, and overconfidence is more often than not a reaction to it. As we learn more about our smug villains, we see the shortcomings that drive that smugness, and only then can Steven bridge the gap towards friendship. Heck, Garnet is the only truly confident Crystal Gem, and while I wouldn’t quite call her smug, at her worst she evokes the ice cold certainty of Sapphire more than the exposed nerve of Ruby. Like our villains, she begins as a mysterious figure, and her arc in Act II involves letting her Ruby out to become more balanced: she better understands her insecure family by embracing the uncertainty within, and uses this growth to reach out and help an insecure enemy understand her in Log Date 7 15 2.  

Garnet might seem to have her act together compared to the other Crystal Gems, but let’s not forget that the emotionally healthiest character in the series is Greg Universe. He’s overconfident in flashbacks, but in the present is at peace with his shortcomings and happy with what he has without needing to compensate. He mourns Rose, but converts this grief into a celebration of his son’s life. Greg isn’t as dynamic a character as the rest because he’s already figured the important things out; he has his missteps, but his core is consistent and largely unchanging, even when he stumbles upon life-changing wealth. Steven tries to be like Rose throughout the series, but it’s not for nothing that Change Your Mind ties self-acceptance to sitting on the beach with a guitar.

I know I’m talking big picture here in terms of the characters and the series, but there’s not much to discuss about Bubbled at the surface level: it’s the misadventure of two enemies that sours to a breaking point, followed by a rescue. It’s actually a pretty slow bottle episode, consisting of a few long conversations broken up by two action sequences, and ending with another conversation. It’s similar in structure to Open Book and Gem Hunt, but far starker than either.

So the big picture is what matters when discussing Bubbled, because it’s a story about how Steven’s inner demons manifest, and will continue to manifest for the rest of the series. After all, Steven himself began as an overconfident kid, rushing into situations he wasn’t ready for and annoyed with not being considered a peer. He becomes far more tolerable after Steven and the Stevens, when he takes this attitude down a few notches and starts trying in earnest to catch up instead of looking for shortcuts or assuming he’s already there whenever anything goes right. But his insecurity is also clear, and now we get to really dig into the unique way this affects his character after examining how other insecurities affect other characters. 

Amethyst’s insecurity raises her defenses like a pufferfish. Pearl’s insecurity makes her insensitive to the needs of others. Ruby’s insecurity compels her to verbalize her own worthlessness (while Sapphire radiates confidence and is only insecure when her signature ability to be secure in the future is disrupted). Connie’s insecurity drives her to prove her worth to others. Peridot’s insecurity causes her to belittle others to make herself seem bigger. Lapis’s insecurity magnifies her suffering and minimizes the good. Bismuth’s insecurity inspires her to overcommit to a righteous cause. Sadie’s insecurity lets people walk all over her until she snaps. Lars’s insecurity makes him a huge jerk. And Steven’s insecurity fuels a martyr complex that’s cranked up to life-threatening heights in Act III.

The most important choice Steven makes in Bubbled is a mind-numbingly stupid one: to tell Eyeball that he’s Rose Quartz, and to then do everything in his power to convince her. Eyeball is the reason he learned Rose shattered Pink Diamond, and she has given every indication that she despises Rose for this, and she’s an especially aggressive member of an aggressive team made of Gems designed to be aggressive. Steven’s reveal comes after Eyeball has made it explicit that her lingering hatred of Rose is the reason she even came to Earth. He’s alone in space with someone who will try to hurt him if she thought he was Rose (and who already wants to hurt him), and he has proven throughout Act II that he’s neither dumb nor naive enough to not understand the likely outcome here. But he says he’s Rose anyway, because he’s so obsessed with helping people that he's willing to put his own safety at risk just to cheer up an enemy. 

There are other reasons I think it makes sense for him to make such an obvious mistake. He’s definitely in shock, but he’s also grumpy and takes Eyeball’s disbelief as a challenge. This is an irrational decision made by someone who isn’t in a rational state of mind. But this only makes it more compelling that his gut instinct, the essence of Steven that emerges from this emotional turmoil, is to help someone else. We’ve already had a whole episode about balancing the needs of others with the needs of yourself in Kiki’s Pizza Delivery Service, but remember, that episode ends with Steven falling asleep standing up, because he ignored his own health to help Kiki learn that lesson.

Steven’s greatest strength creates his greatest weakness. He’s empathetic and sensitive, and can do amazing things because of it, but he needs to value himself as much as he values everyone around him. Act III sees him stumble and scramble through more trying times than ever, and until Connie finally calls him out on it, he compounds his troubles with his self-sacrificial mindset. He’s not suicidal by any stretch, but he decides his own needs are irrelevant when others need help, which ironically makes him more selfish than ever as he determines that he and he alone can save the day and stop his friends from getting hurt. And even when the cosmic scale fades away, his obsession with helping others to distract from himself becomes the driving conflict of Steven Universe Future.

Eyeball works wonders as a foil: she opposes Steven, but isn’t savvy enough to manipulate him on purpose, so his error is both obvious and unforced. Telling her that he’s Rose Quartz needs to say more about him than about the person he’s telling, and Eyeball is just flat enough of a character that she doesn’t steal his spotlight.

Charlyne Yi once again kills it, and little moments do personalize Eyeball further, even if it’s nothing groundbreaking. The biggest, in my mind, is commanding Steven to “find cover, soldier!” as asteroids approach, despite their antagonistic relationship: her instinct to act as a team trumps her personal disdain for Steven, and while he assumes later that the two are bonding, this is as close as I think she actually gets to reciprocating. We see her get annoyed at being called Eyeball, which is a nice and reasonable gripe from a character whose gripes we tend to disagree with. And I love that her weapon is less of a knife and more of a shiv, with a squared edge that implies she’s got a really strong stabbing arm.

Like I said, she’s still flat—we may see her quirks here, but she doesn’t change at all over the course of the episode and we already knew she was a proud warrior Gem with a stubborn streak—but it works. It’s weird to use “flat” as a compliment, but I do mean it as such. She isn’t the real villain here, and “defeating” her feels more like failure than victory: Mindful Education hammers home that this is the third enemy Gem in a row that Steven couldn’t help, no matter how hard he tried.

While Bubbled feels pretty slow, it helps that the whole thing is beautiful to look at. The opening shot of Steven tumbling through space from his own point of view gets us right into the game, and the loneliness and sheer terror of his situation is highlighted with gorgeous, silent shots of space. Steven is processing a huge shift in perspective, and the setting reflects the magnitude of his new reality.

And then, to add an auditory counterpart to the visual story, his rescue is punctuated by Rebecca Sugar finally finishing Love Like You.

The song has played over the closing credits since the beginning of the series, using a variety of instruments before the lyrics trickled in. An acoustic version accompanies the end of Ocean Gem, as Steven celebrates with the humans and the Gems discuss what Lapis’s escape means for the future. A haunting reprise, unrecognizable at first while Steven struggles to find himself, joins the end credits for Act III. And wouldn’t you know, it’s a song about insecurity.

When I first heard Love Like You, and for years after, I was convinced that it was sung by Rose. Rebecca Sugar herself said that it wasn’t written with a particular character in mind, but nope, for me it was definitely about Rose. She’s singing to Greg about how she wants to capable of loving the way humans can, and Steven is the result of the conversation. And I still think that reading stands, and that it matters, but songs can be about more than one thing.

This is the third of four songs that encapsulate the two big lessons I take from Steven Universe. Strong in the Real Way reconstructs the notion of what true strength is, and alongside Stronger Than You, we’re told that what matters most is doing the right thing and being a good person, even when it’s hard, and that healthy relationships (romantic, familial, platonic, whatever) help make this possible. 

Love Like You and our fourth big song, Change Your Mind, similarly work as a duo: where the Strong Songs are about the importance of relationships to emotional strength, Love Like You and Change Your Mind address how we as individuals can be strong in the real way. It’s important to have healthy relationships, but it’s also important to love yourself, and Love Like You is about that second part: the most loving network in the world can’t fix your insecurity if you’re unable to see yourself the way your loved ones do. 

As Love Like You plays in the background, with the first non-diegetic lyrics we’ve heard in the series, Steven is finally told the truth. Garnet is right that Steven’s mother would have done anything for Earth, and while the details of her misdeeds are hazy at this point, the result is the same. Steven can no longer look to his mother as a paragon of virtue, and even though the Crystal Gems love him, they can’t fix this new problem, especially if their secrecy is part of the problem. They think the world of Steven, and now it’s up to him to see that he can do about anything. He could even learn how to love.

Future Vision!

Eyeball knows Rose Quartz not by her shield, but her sword. And we know Eyeball witnessed the “shattering” of Pink Diamond. And we know that Rose’s sword was built to not harm a Gem’s gem. Hints abound.

The chase around the bubble ends because Steven stops and wonders aloud what would happen if his gem was taken. It’s the first time the subject is broached on the show. It isn’t the last.

We’re the one, we’re the ONE! TWO! THREE! FOUR!

Bubbled touches on major themes of the series, but in a bubble on its own, the glacial pace hinders the storytelling. This is a great finale, but it’s not that great of a solitary episode. I like it fine, there are a lot of great things about it (the art in particular), but I don’t rank this one very high by itself.

Top Twenty

Steven and the Stevens

Hit the Diamond

Mirror Gem

Lion 3: Straight to Video

Alone Together

The Return

Jailbreak

The Answer

Sworn to the Sword

Rose’s Scabbard

Earthlings

Mr. Greg

Coach Steven

Giant Woman

Beach City Drift

Winter Forecast

Bismuth

When It Rains

Catch and Release

Chille Tid

Love ‘em

Laser Light Cannon

Bubble Buddies

Tiger Millionaire

Lion 2: The Movie

Rose’s Room

An Indirect Kiss

Ocean Gem

Space Race

Garnet’s Universe

Warp Tour

The Test

Future Vision

On the Run

Maximum Capacity

Marble Madness

Political Power

Full Disclosure

Joy Ride

Keeping It Together

We Need to Talk

Cry for Help

Keystone Motel

Back to the Barn

Steven’s Birthday

It Could’ve Been Great

Message Received

Log Date 7 15 2

Same Old World

The New Lars

Monster Reunion

Alone at Sea

Crack the Whip

Beta

Back to the Moon

Like ‘em

Gem Glow

Frybo

Arcade Mania

So Many Birthdays

Lars and the Cool Kids

Onion Trade

Steven the Sword Fighter

Beach Party

Monster Buddies

Keep Beach City Weird

Watermelon Steven

The Message

Open Book

Story for Steven

Shirt Club

Love Letters

Reformed

Rising Tides, Crashing Tides

Onion Friend

Historical Friction

Friend Ship

Nightmare Hospital

Too Far

Barn Mates

Steven Floats

Drop Beat Dad

Too Short to Ride

Restaurant Wars

Kiki’s Pizza Delivery Service

Greg the Babysitter

Gem Hunt

Steven vs. Amethyst

Bubbled

Enh

Cheeseburger Backpack

Together Breakfast

Cat Fingers

Serious Steven

Steven’s Lion

Joking Victim

Secret Team

Say Uncle

Super Watermelon Island

Gem Drill

No Thanks!

     5. Horror Club      4. Fusion Cuisine      3. House Guest      2. Sadie’s Song      1. Island Adventure

#bubbled #steven universe #su #steven universally #review

[theconservativebrief]

Every week, we pick a new episode of the week. It could be good. It could be bad. It will always be interesting. You can read the archives here. The episode of the week for July 15 through 21 is “Austerlitz,” the seventh episode of HBO’s Succession.

Have you opened your heart to the gospel of Succession? Since the show premiered on HBO in June, it’s the only thing I’ve been able to think about. In terms of the network’s programming, it feels like a more dramatic counterpart to Danny McBride and Jody Hill’s brilliant odes to contemporary Americana, Eastbound & Down and Vice Principals, the latter of which my Vox colleague Todd VanDerWerff described as “so dedicated to its own vision that it might make you laugh, and then make you want to throw up about five seconds later.”

All three shows are working with a similar set of tools. The characters are inherently unlikeable to the point that it’s startling to realize you’ve come to care about what happens to them, largely because the line between laughing with and laughing at them becomes so tenuous. They’re painfully funny, with the operative word being “painful.”

It’s just that Succession (created by The Thick of It’s Jesse Armstrong, if you needed any indication of the show’s pedigree) happens to be wrapped up in a more prestige-y looking package, and is working toward its central tragedy from the dramatic end of the scale rather than the comedic.

It’s that sense of cognitive dissonance that has largely allowed for Succession to fly under the radar. The show tells the story of a family-run media conglomerate wrestling with the question of who will take over if or when the patriarch chooses to step down. It looks too serious for how funny it initially is, but that humor is ultimately just as much of a defense mechanism as the brittle fronts put up by its characters, breaking apart and revealing deeper layers as the show tilts into disaster.

The show is a lot more fun than it might look. And it’s much more complex than the thinly veiled Murdoch family analog its advertising might lead you to expect.

As the first season has progressed, the series has grown into one of the most deftly executed dramas currently on TV. The show’s sixth episode, “Which Side Are You On?” ended in heart-pounding fashion with Kendall Roy’s (Jeremy Strong) failed attempt at staging a coup against his tyrannical father Logan (Brian Cox).

The sequence might as well have been a nightmare: Kendall was forced to dial into the meeting instead of attending in person, running through stalled traffic while on his phone (leaving his supporters to wilt under Logan’s gaze) and trying to interpret the stony silences on the other end of the line. The result — Logan remaining in power while Kendall was fired from the family business and left listlessly roaming the streets of New York — was blood-curdling.

That episode’s follow-up, “Austerlitz,” is a little less immediately showy, but it’s a neat microcosm of what Succession is, as well as perhaps the clearest example of how the show expertly strikes a balance between humor and heartbreak. If you’re not a Succession believer just yet, here are three reasons you should be, as explained by the episode.

“I want to have your back, and, uh … there’s also my back.” HBO

Arguably, none of the Roys are people you want to root for — despite being family, they can’t even root for each other. When Logan calls his kids together for family therapy (which turns out to be for positive PR rather than any actual inclination toward healing), one doesn’t show up, and the others can barely stifle their laughter when he says that everything he’s done has been for them.

This dynamic could easily become tiresome to watch, but the personas that Succession’s characters flaunt, whether it’s Kendall’s “business bro” posing or his younger brother Roman’s (Kieran Culkin) unrelenting penis-centric humor, have gradually been peeled back, transforming my desire to see these idiots get their comeuppance into genuine emotional investment. It’s a turn that would fall flat if the cast wasn’t so uniformly great. Their bad behavior, while not justifiable, comes from a place that any viewer should find at least a little familiar.

Granted, some characters are easier to care about than others. Siobhan Roy (Sarah Snook), tellingly nicknamed “Shiv,” is the most appealing (or least odious?) of the bunch, largely because she’s the only Roy child who seems to have secured any significant measure of independence from Logan.

Instead of going into the family business, she’s gone into politics, and when the two begin to overlap, her frustration is tangible. She doesn’t want to be defined by her family’s name, but it’s not her choice to make. And Snook is a master at playing tough to the point that when Logan finally reduces Shiv to tears in “Austerlitz,” it comes as a shock.

To that end, “Austerlitz” serves as a showcase for each character’s human flaws and insecurities, as the pretext of a family sit-down brings every character together under a single roof and holds a magnifying glass to the bonds between them. Even Shiv’s less self-possessed siblings — Kendall, Roman, and Connor (Alan Ruck), the eldest and least effective son — slowly start to feel more like human beings as the show makes clear just how badly Logan has broken all of his children. Watching him try to “win at therapy,” in Shiv’s words, is uniquely frustrating, and when the proceedings fall apart, there’s a sense of loss in the air rather than satisfaction.

Sweet, simple cousin Greg. HBO

Part of Succession’s emotional turn also comes from the way it deploys laughs. Armstrong uses cringe humor in abundance, first inviting us to draw a morbid kind of enjoyment from the antics of the Roy children before slowly pivoting to have us feel guilty for being complicit in their misery. But that’s not to say that the show isn’t also just plain funny.

In “Austerlitz,” for example, when therapy begins to break down, the therapist suggests everyone unwind by getting in the pool. The kids immediately tell him that doing so is out of the question because Logan can’t swim. “He doesn’t even trust water. It’s too wishy-washy.”

Moments like these are regularly punctuated by the way the show is shot, with little zooms in and out on the characters’ faces that are commonly used on shows like The Office or Brooklyn Nine-Nine, but rarely on “prestige dramas.”

Then there’s the way Tom (Matthew Macfadyen), Shiv’s fiancé, follows her around like an overeager puppy, pressing her for details on how therapy is going. His interest is both personal and practical: He works for her father. Though he knows it’s not a good time to try to angle for a better position in the company, he can’t help it — not that that should come as much of a surprise, given that his attempt to cheer Shiv up during the second episode of the series, which saw Logan hospitalized, was to propose to her in the hospital hallway.

Though Tom otherwise takes a back seat in “Austerlitz,” I’d be remiss not to mention that his rapport with cousin Greg (Nicholas Braun) is the most consistently funny part of the show. Their status as the two outsiders to the Roy family — Greg is the black sheep cousin from Logan’s (practically estranged) brother’s side — immediately puts pressure on them in an environment that’s already close to its boiling point.

Unlike the people they orbit, they don’t come from money, making their vying for some kind of status all the more obvious. Greg phones his mom for advice, and Tom can’t stop trying to needle Shiv about how to best impress her family.

Tom loves Shiv, but he loves the power that the Roy name bears, too. As such, though he ought to be able to find common ground with Greg as another (relative) beggar at the feast, Greg also constitutes a threat to his position.

Tom is, to put it mildly, absolutely horrendous to Greg, subjecting him to near-constant verbal abuse (which he plays off as a joke, a tactic Greg is finally getting wise to) and using Greg as a pawn in his attempt to climb the Royco ladder.

It’s a demented relationship, but Macfadyen is so good at playing a sociopath, and Braun is such a delight, that it’s impossible not to laugh while watching as they navigate everything from a corporate “death pit” to eating ortolan, a delicacy that was also notably featured on Billions as a marker of wealth, as it involves consuming a protected species of songbird whole (and which Tom gleefully tells Greg is “kinda illegal”).

[embedded content]

Of course, Succession’s humor has become all the more precious as the series progresses. “Austerlitz” is particularly grim, as Kendall’s journey to family therapy takes him on a detour into a drug den, first. Early on in the season, it was established that Kendall is a recovering drug addict, and that his marriage fell apart as a result of his drug abuse and his commitment to his work — or perhaps more accurately, to his father.

His relapse is crushing, as is the knowledge that it is in equal parts due to just how low he’s been laid by getting fired from the company (and then being sued by his father for his insubordination), and to his father planting stories about a relapse in the tabloids.

When Kendall finally arrives at the New Mexico ranch where his family is gathered, he’s high out of his mind. He’s smiling throughout the ensuing confrontation with his father, but there’s no semblance of happiness in his attitude — there hasn’t been through the entirety of the show thus far.

“I was born lucky,” he says, but he knows the Roy silver spoon is a blessing and a curse. Like Shiv, he’s inextricably tied to his family despite how ill-suited he is for the shark tank it is, and he’s finally realized that the reason (or one of the reasons) that Logan seems to hate all of his children is that they were born with luxuries that he had to earn.

Strong is giving perhaps the most impressive performance on the show — every scene of his brings to mind the devastating finale of The Thick of It, in which spin doctor Malcolm Tucker (Peter Capaldi) finally decides he has nothing left to say — and is most clearly shepherding Succession toward the Greek tragedy it now seems it’s always been.

Tension is brewing between the Roys, and it’s clear that something horrible lies ahead, especially now that they all know they’re capable of stabbing each other in the back. Thanks to his father, Kendall has become a man with nothing to lose, which, for once, actually makes him dangerous. That is, if he’s able to keep from falling prey to his own monsters.

We’ve known from the start that the Roys are horrible people; what makes Succession so impressive is that it has managed to make their turning against each other so difficult to watch. It’s hard to imagine what would constitute a “happy” ending to the season — if one is even in the realm of possibility.

Despite how much we’ve learned about the Roys already, there’s still a lot left to unravel. To wit, in contrast to what the Roy children said about their father earlier in the episode, “Austerlitz” ends with a shot of Logan slowly swimming in the pool as his children depart one by one.

Succession airs Sundays at 10 pm on HBO.

Original Source -> HBO’s Succession has quietly become my favorite show of the summer

via The Conservative Brief

#IFTTT #The Conservative Brief