I had planned to post this article right after the “Succession” series finale, but the bleak finale (combined with “Barry”‘s equally hopeless ending that aired right after it) was a little too harrowing to review immediately after it was over. I can’t say I’m entirely surprised that it ended in a depressing place (some of the same misanthropes that worked on “Veep,” “Four Lions,” “In the Loop,” and “The Menu” are working here) since the British creators probably couldn’t resist having a European company swallow the American behemoth Waystar Royco. Still, it’s one thing to expect a down-and-out ending, and another to actually watch our protagonist wandering around a park while on the verge of suicide, knowing his future is dark, his enemies have triumphed, and his family is truly unsalvageable and awful to the core–with his sister denying him the top spot solely out of pettiness, jealousy, and an inability to admit her brother would be good at it. [No, I don’t really believe Shiv did it for Tom (who could be fired by Matsson in a month), and definitely don’t think she believes Kendall would be worse at the job than the erratic, sadistic Matsson, who she knows has already committed sexual harassment and business fraud.]
Okay, in the words of Logan Roy: “let’s get on with it…”
4. Worst Season: Season 1…Although no season of “Succession” is bad, it didn’t take me long to conclude this was the worst, and it’s actually hard to get people to watch this show (I’m speaking from experience) because the first half of season 1 can be so off-putting. I can almost hear myself repeatedly saying “Hang in there until the season 1 finale because season 2 is so much better,” and having to say that quite a bit since the first scene of episode one is a confused old man peeing in a room that’s not a bathroom. The first few episodes aren’t great, but establish “Succession”s narrative daring and structural risks by having the central powerhouse Logan Roy sidelined almost immediately. The show is essentially showing us “Deadwood”‘s second season (which saw central schemer Al Swearengen out of commission for several episodes after a beating and kidney stones) right at the beginning when we’ve barely had time to process what a lion Logan Roy actually is. Watch for: The second episode of this season sets up a dynamic that will play out many times over the series, even up to the last of the finale; I’m referring to Shiv and Roman being unable to accept Kendall as CEO unless absolutely forced to, and looking for any possible way to avoid him ascending. My favorite episode of this season is easily the season one finale “Nobody is Ever Missing” with its stunning late-episode twist, and “Whose Side Are You On?” is the runner-up. Grade for season 1: B+
3. Season 4…For me, this is the most inconsistent and wide-ranging of all the seasons. Some episodes would be considered for best of the entire series (“Connor’s Wedding”) and others are probably among my picks for the worst in the entire series (“Tailgate”‘s only real purpose is a contrived, marriage-ending fight between Tom and Shiv…which makes her actions in the series finale all the more inexplicable). The first few episodes are great, but there’s no denying that Logan’s missing energy can sometimes make the back-half of the season feel aimless or repetitive. There are also plot lines that feel like afterthoughts (the Pierce acquisition from the season premiere is only sporadically mentioned later on, and it’s not at all clear what happens with it in the season finale where it’s ignored), and character actions that simply make no sense, such as Shiv initially being dead against the Waystar acquisition, so why betray her brothers for a wink and the promise of a promise from Matsson? However, there are a handful of truly terrific episodes here. Watch for: I loved “Rehearsal” (Logan’s last real episode, featuring his final emotional manipulation of his kids in a karaoke bar and a thundering newsroom speech), the emotional chaos of “Connor’s Wedding,” the majestic scenery and mountain top climax of “Kill List,” the stressful frenzy of “America Decides,” and Kendall’s Michael Corleone-like maneuvering in “Church and State.” [It’s also interesting that the Roy children eulogized their father in “State” in a way that reflected their leadership styles with Roman completely choking under pressure but refusing to admit he’d failed, endlessly entitled Shiv viewing her father entirely through the lens of herself, and Kendall mostly focused on energizing business accomplishments as the biggest measurement of a life.] Grade: A-
2. Season 2…It says something about just how strong seasons 2 and 3 are that I’m ranking this near-perfect season as the second best of the entire series, even though it probably has the most consistent quality to the episodes (to paraphrase Greg’s rebuttal after one of Ewan’s demoralizing quotes, season 2 is “all killer, no filler”). Any show currently on TV would consider it a miracle to produce a season this good since almost every episode delivers belly laughs, emotional devastation, and genuinely exciting plotting. Smart tweaks abound in season 2 like not featuring many of the show’s weakest characters (Rava doesn’t appear, and Nate Sofrelli barely does) while introducing some that will soon become fan favorites (Jeannie Berlin’s Cyd Peach or Fisher Stevens’s Hugo). Watch for: Half the season is near-perfect such as Ken’s soul-killing actions in “Vaulter,” Tom and Greg’s hysterical cowardice in “Safe Room,” the juicy culture clash between the unpolished Roys and phony New England legacy media in “Tern Haven,” clues to Logan’s past in “Dundee,” the riveting congressional hearings in “DC,” and the exhilarating season-ending twist in “This is Not for Tears.” Grade: A
1. Best Season: Season 3…I give this season the slight nudge over season 2 mostly because of how satisfyingly it answers questions that have been set up in season 1 like “What will happen with the shareholder vote?” or “What if Kendall declared all-out war on his father and took that public?” My favorite scenes of the entire series are between Brian Cox and Jeremy Strong (their final scenes together in seasons 1 and 2 are possibly the best of those seasons), and so it’s astounding this season is so excellent even though they only share a handful of scenes together. However, their dueling dinner conversation in “Chiantishire” is so good, it reminds you that quality is more important than quantity, which is fitting since this is the only season with 9 episodes instead of 10. Watch for: The invigorating initial chaos after Ken’s press conference in “Secession” and “Mass in Time of War” (both are masterclasses in how productions could get creative even with setting-limited CoVid restrictions and featured some of dryly-hilarious Frank’s best deadpans like “I’m excited to see more of the Balkans” or “Just the fresh face we’re looking for” when Karl floats his own name as CEO), Kendall and Shiv going at each other directly in “The Disruption,” Logan being diminished at the worst possible time (naturally) and the breakneck dealmaking that happens as a result in “The Retired Janitors of Idaho,” Kendall and Tom having a rare solo scene (their best together in the series) in “What it Takes,” and the bleak pairing of “Chiantishire” and “All the Bells Say,” both featuring some of the most darkly cathartic family scenes since the “Godfather” movies. Grade: A
Miss that show so much. Great article!