The first season of “Succession” felt, in ways good and bad, indebted to Sartre’s existentialist play “No Exit.” The characters — centrally, a trio of siblings scrapping for their corner of a family media empire, with various lackeys and hangers-on in their orbit — were miserable creatures, and unwilling to get out of one another’s way. The locations changed, but the condition of being stuck in a war that could not be won, and that could only be waged through vicious bickering, wore on.
What a pleasant surprise, then, that the second season has found a way forward — and has become vastly more interesting in the process. The world of the Roy family has opened up, yielding a meaningful understanding not merely of the lust for power but of what that power can do, and what privileges it strips away.
The arc of the first five episodes concerns the tending...
What a pleasant surprise, then, that the second season has found a way forward — and has become vastly more interesting in the process. The world of the Roy family has opened up, yielding a meaningful understanding not merely of the lust for power but of what that power can do, and what privileges it strips away.
The arc of the first five episodes concerns the tending...
- 8/6/2019
- by Daniel D'Addario
- Variety Film + TV
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