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Succession, across its four seasons, stands as one of the most compelling and sophisticated dramas in modern television. It chronicles the dysfunctional Roy family, at the heart of a global media empire, and their bitter struggle for control over the company as their father's health wanes. From the very first episode, the series establishes a cutthroat atmosphere where familial bonds are fragile, ambition is toxic, and power is the ultimate currency. The show's brilliance lies in its ability to blend high-stakes corporate drama with intimate character studies, examining the emotional damage wrought by extreme wealth and ambition.

One of the most striking aspects of Succession is the way it weaves power dynamics into the fabric of every relationship. The central figure, Logan Roy, played with intimidating authority by Brian Cox, embodies a ruthless capitalist who pits his children against one another. The most memorable moments of the show often involve Logan manipulating his offspring - Kendall, Roman, Shiv, and Connor - to maintain his dominance. In the first season, Kendall (Jeremy Strong) attempts a coup against his father, only to be crushed in a car accident cover-up that Logan exploits to maintain control. This set the tone for the entire series: even the most powerful within the Roy family are rendered powerless by their patriarch.

Season two builds on this dynamic, with Kendall becoming a broken shell of his former self after his failed rebellion. Jeremy Strong's performance throughout the series is particularly lauded, especially in moments where Kendall teeters on the brink of collapse. His attempted defiance at the end of season two, where he publicly betrays his father in a press conference, is one of the show's most iconic moments, serving as a shocking climax to a season full of tension. The writing in Succession is masterful, constantly shifting alliances and creating complex emotional stakes that elevate the drama beyond the corporate sphere. It's not just about who will take over the company, but about whether these people are capable of genuine human connection.

The third season is where the Roy siblings' infighting becomes even more intense, particularly with Shiv (Sarah Snook) and Roman (Kieran Culkin) vying for favor from their father. Roman's arc is particularly compelling as he evolves from a joker to a serious contender, his vulnerability shining through in moments where he grapples with both his desire for power and his emotional scars. Shiv, on the other hand, navigates the corporate landscape with a steely ambition that mirrors her father's, but her constant wavering and inability to fully commit to any side of the battle for control ultimately undermines her. Sarah Snook's portrayal of Shiv's conflicted character brings depth to her internal struggle between loyalty to her family and her own ambitions.

Season four, the final season, marks the culmination of years of intricate plotting, and emotional breakdowns. Kendall, Roman, and Shiv face the prospect of a future without Logan's omnipresent control after his sudden death in the episode "Connor's Wedding." The episode, one of the most impactful in television history, not only shocks the audience but forces the characters to confront their fragile relationships with each other. Logan's death, while a massive plot point, serves as a catalyst for the siblings to fully embrace their personal ambitions, but it also reveals just how much of their identities have been shaped by his overbearing presence. The tension escalates as they struggle with the boardroom politics of selling Waystar Royco or keeping it within the family.

Thematically, Succession is a deep exploration of capitalism, legacy, and power. The Roy family's empire is built on a foundation of moral ambiguity, with Logan Roy representing the darker side of corporate America. The show critiques the hollow nature of extreme wealth, with characters who are emotionally stunted and disconnected from the real world. Despite their immense power and influence, the Roy children are incapable of forming healthy relationships, either with each other or with the outside world. The series repeatedly underscores the idea that wealth and power cannot buy happiness or stability, a message made clear as each sibling fails, in their own way, to succeed in filling their father's shoes.

Visually, the show is a masterclass in capturing the cold, sterile world of corporate elite. The cinematography uses expansive, minimalist sets to reflect the isolation and emotional emptiness of its characters. From the luxurious penthouses to the sprawling offices, there's a sense of detachment in every frame. The way the camera lingers on the Roy siblings in moments of crisis emphasizes their vulnerability despite the power they wield. The editing of the show is sharp, with the tension building expertly across each episode, especially during pivotal scenes like boardroom showdowns or intimate family confrontations.

One of the strongest elements of Succession is its pacing. Each season is structured like a slow burn, gradually building tension and stakes before delivering explosive climaxes. The boardroom vote in the final episode, "With Open Eyes," is a prime example of this. The show has a remarkable ability to make corporate machinations thrilling, largely due to the personal stakes involved. The pacing allows for moments of quiet reflection between the more dramatic scenes, offering insights into the characters' inner turmoil and highlighting the emotional costs of their endless pursuit of power.

The ensemble cast is another highlight, with every actor delivering standout performances. Brian Cox's portrayal of Logan Roy is legendary, his presence looming large even in the episodes where he's absent. Jeremy Strong's Kendall is the heart of the series, his tragic arc offering some of the show's most emotionally resonant moments. Kieran Culkin's Roman provides darkly comic relief, yet his character is far more complex than his quips suggest, particularly in his relationship with his father. Sarah Snook's Shiv embodies the conflict between ambition and loyalty, and Matthew Macfadyen as Tom Wambsgans offers a nuanced performance of a man constantly trying to survive in the Roy family's ruthless world.

In terms of critical reception, Succession has been lauded for its writing, performances, and direction. It has consistently garnered awards and critical acclaim, praised for its biting satire of the ultra-wealthy and its unflinching portrayal of power and family. The show's ability to tackle both macro themes of capitalism and micro themes of family dysfunction makes it a standout in the crowded landscape of prestige television. Its dialogue, often sharp and darkly humorous, captures the absurdity of the world the Roys inhabit while offering pointed commentary on the nature of power.

In conclusion, Succession is not just a show about a media empire - it's a psychological drama that delves into the complexities of family, loyalty, and ambition. Its ability to make the corporate world emotionally engaging, combined with its sharp critique of wealth and power, has solidified its place as one of the most important television series of the modern era. With its gripping narrative, exceptional performances, and insightful commentary, Succession is a rare example of a show that masterfully balances character-driven drama with broader thematic concerns, making it both a critical and cultural phenomenon.

The show notion is deep and unexpected . Casting is so perfect and so professional . Amazing is the ups and downs done in a way that you don't feel it's sometimes enological . Sara Snook ( Chev) was my favorite with her feminine turnovers that made sense even when it didn't !. What was amazing to me are the dialogues .. how can this be written in script with all the arguments , interruptions and F words !!! . Logan Roy is the kind of fathers who loves his children so much that he couldn't accept their failures , we see this model often in real life . From children's side , they loved him back but again couldn't accept his guidance or orders .. so real , emotional and touching .

Bravo.

I'm surprised there isn't more positive reviews.

Its well written, nice amount of dark humour. The characters are mostly horrible people you'd never want to meet in your life.

I love it.

You can't compare this show to Billions. All the characters on Billions are whip-smart. Here only the boss is that sort of smart, and he's often complicated by other issues. While the cat's away .... Not that the devilish characters here are stupid, but they are all definitely spoilt, and show it, which is awesome. One garners huge sympathy for the old man. On a technical level I wondered at the shaky camera and often used close ups. You have to get used to it (but you do, and from that point its smooth sailing). It's not nearly so pronounced as found-footage movies, but I did wonder at why they felt they needed to use such a method at all. That's where I docked the two stars. The soundtrack's left-motif is a delightful little piano tune. Of all HBO's recent experiments I thought this show finally found the traction they have been looking for. It's edgy and fast, full of surprises and interesting locations. The characters don't race toward obvious pitfalls, and the drama is, for all its pace, measured and all the more interesting when it arrives at the end of a sub-plot or at an unintended circumstance. This first series winds up with a neat bow, so it doesn't leave one unsatisfied. Indeed, I binged the whole 10 or so episodes easily over three nights, and really enjoyed every minute.

An incredibly mean, profound, and nerve-wracking family epic. Bryan Cox plays an outstanding role as a family father. Above all, the series requires patience and life experience to really enjoy all the meanness and entanglement within the family. A demanding series, for a demanding viewer.

Beside all the hateful comment i read on twitter and Imdb i decide to watch the show and suprise i really liked it In Fact what i like the most beside the plot is that there is not ONE likeable character in this series they're all Vicious and greedy for money or attentions and that's so refreshing i understant all point of views without the need to « like » one particular character In brief it's a good show (for now)

Half way through Ep2 of S1, I considered stopping as it was starting to drag, but I kept going and by Ep4 I was addicted, simply couldn't wait for the next episode.

Many high quality production points but the big winner is the fast paced scenes exposing the flaws in every character, one minute you with them the next you dislike them, brilliantly crude and cutting dialogue masks the emotions of the individuals until they explode in some way.

The money and lavish life style falls into background as you wonder how they'll survive in the dog eat dog family meetings, from love to hate in a sentence, very entertaining.

I was really looking forward to this show, I'm a big fan of the genre.

I literally hate every character that I've seen so far except the Spanish boy playing baseball and the nurse. There's nothing to see here but spoiled rich kids waiting for big daddy to drop dead so they can take his money/position. Not exactly an original idea for a show. Nothing notable, nothing redeeming, nothing to value. The characters grate my nerves so much that I stopped watching at episode 3. If you think this is HBO's answer to Billions, you might want to keep watching Billions.

This is a slow burn type show. I do not understand all the negative reviews. This show is not Billions, nor is it trying to be. I think HBO has a well-written, acted, and wonderfully crafted show on it's hands. The Performances of Culkin, Strong, Snook, and Cox as the main 4 of the family are near Emmy worthy. The show has several laugh out loud moments, mixed in with deep, emotionally accurate nuances of inter-generational family issues. The Millennial mores are so varied from those of the baby-boomers, and this show tackles the difficulties(albeit the few,) that come along with being born into the Billionaire life, such as impossibly high expectations. Mix unlimited access to funds with no sense of responsibility is a recipe for all kinds of problems. Culkin's care-free nature is the polar opposite of Strong's high strung neurosis, and they both play very well off of each other. I would be surprised if one of these two does not nab an Emmy nomination at the end of the year. Overall, I think this will be one of those shows that catches fire going further into season 1 and possibly even season 2. Don't be late to this one, for me it's can't Miss TV.

...did we really need to revive the NYPD Blue shaky/sudden zoom cinematography style? It would be much more watchable without the silly camera trickery.

Jesse Armstrong also wrote Fresh meat and Peep Show so you can expect the same kind of humour.

A fantastically wealthy family plotting against each other and displaying some eccentric quirks like the Royal Tennembaums.

After episode one, I am ready for another, it´s decent.

Watched 'Succession' after hearing nothing but great things from trusted word of mouth (despite being understandably polarising on here). And also because of the hugely talented cast, with a particularly high opinion of Brian Cox, and the major awards attention it's garnered. Had no doubt it would be at least good, with a concept this great and scarily relevant and one that would have been hard to mess up, while acknowledging that it was not a show for all tastes.

'Succession' on the whole is hugely impressive, with most of the numerous good things being outstanding. Can totally understand why it is not for all tastes though and do share some of the criticisms, but for me the acclaim is a lot more understandable and the things that are especially praised (i.e. The acting) that others have observed are things shared by me. Personally was hooked by the first two seasons while finding Season 3 not as strong.

Do agree about the slowness, though it was only an issue at times in the later episodes where there was a running out of ideas feel. Meaning that it was too over-deliberate.

And also about it being repetitive, too much of Season 3 goes too far on the predictability and repeats itself.

However, there are so many outstanding things. First and foremost, the acting. Cox is absolutely tremendous as one scarily loathsome yet fascinating character that reminds me of why my opinion of the media is as low as it is. Kieran Culkin has never been better than here, with some gloriously funny moments as well as a few touching ones. Jeremy Strong has the character that is the closest to having any form of likeability and he plays Kendall poignantly. The character dynamics are utterly riveting, including in Season 3, and while the characters are a reprehensible bunch they do grow quite layered. And not cartoonish as there are people like that out there with that dysfunctional a family dynamic and above everybody else complex.

Visually, 'Succession' looks great, with a very stylish look that never looks static or filmed play like. The heavy use of close ups actually didn't bother me. Absolutely concur with everybody praising the music score, which amplifies what goes on without over emphasising. The main theme is very memorable. Loved the cutting edge of the dialogue, which is almost chilling in its truth while also being blisteringly funny at times and heartfelt in others. The storylines on the whole do compel and are elevated by the way the characters interact, they are slow and repetition heavy later on but full of intrigue and tension most of the time. Love the relevance and how well it captures how frighteningly ruthless this industry can be.

Concluding, very good and nearly great. 8/10.

So do I root for the crappy person or do I root for the other crappy people because they're entertaining? All this show does is try to let us know crappy rich people get to do what they want. I quit watching after episode 6 last season. I can listen to bad music to remind me how being worthless and dumb will make you money. Poorly scripted with a sorry inevitable outcome. Please remind me again how rich get richer and poor get screwed. Living in the real world reminds me everyday.

Bittersweet as pomelo and coffee fast dialogues. Money cant always be the solution ... can It? Smart.

The character development is unique. You will neither like them nor hate them. They all have Grey areas. They had their own motives. You will not be able to choose whose sides are you on. Probaby like me you will end up no matter what ever happen i just want to Logan empire sustained :-)

The first season stumbled...a lot. This second season has been terrific from start to finish. I went from hating most of the cast to only hating Shiv and her moronic husband. I don't understand why the creators think that Tom is an interesting character, but every moment he's on screen turns my stomach. A lot of things happened in Season 2 that really interested me, especially with Jerry and Roman. It's becoming a really good show, I'm excited for what's next.

SEASON 1 (4/5)

A surprisingly funny dark comedy. Following the tedious relationship of a wealthy family is not a particularly original idea for a show, but Succession may be the best one to execute it because it's very grounded, yes there are twists and turns, but they are realistic, and they are well introduced.

The characters are a bunch of awful people, it's somewhat difficult to be happy with them when they win something but with time you understand their trouble and their personality and (they are still awful and you wish them to fail) but they become very entertaining to follow.

The strongest point in this show is the humor, with characters so out of touch with the reality of common people, that it's sometimes hilarious how they act or think. The show never loses its serious tone, but the humor is omnipresent, and it's a delight how well-balanced the dark, the grounded, and the funny is played.

It takes a few episodes before the stakes get high enough to give you some good tension and from there, it's hard to look away.

SEASON 2 (4/5)

Succession maintains its quality in its second season but loses a clear storyline, only the last two episodes have notable stakes. A lot of stories introduced in the first season are quickly concluded, the conclusions were well done but feel anticlimactic with how promising they were in the first season.

With a step back from the story, this season is all about character development, and each of them gets closer to the main question of the show: Who will succeed Logan Roy? There is obviously no answer to that yet, but viewers can start to see the pros and cons of each potential successor, and we can start to make clearer guesses about which became the most interesting part of the show.

SEASON 3 (4/5)

Succession comes back stronger with its third season. At this point, we know the characters sufficiently to see through their unbearable personalities and care for them (while wanting them to fail at the same time).

Despite some hard-to-follow business lingo and a few confusing time jumps, the story and its stakes are clearer and offer more tension than the previous season until a very strong finale.

SEASON 4 (4.5/5)

An amazing final season. The story comes to a satisfying end and the characters conclude, each of them, their own development, with what felt like a long but necessary road. Some surprising events help the character to give their deepest moment, with some outstanding performances from the actors.

It does sometimes feel like the actors are giving some difficult scenes just for the sake of being nominated later. When you have three actors playing, in a row, their most emotional monologue, despite their amazing acting skills, it is hard to not see the opportunity behind them.

As always, the business lingo makes the story a little difficult to follow but, in the end, it doesn't stop you from feeling the stake and understanding the confrontations.

Outside of Shiv, who gets a better redemption, the other characters remain as despicable as ever, but one thing Succession succeeds through the whole series is to make you care for each of these god-awful yuppie.

I'll go against my normal nature and say that this is a really good show, but it doesn't appeal to all audiences. I have been through enough family conflict that the premise of the show and the slowly building vicious animosity is just something I don't enjoy. I slogged through half of season 1 and by episode 8 I just couldn't do it anymore. But I'll say the writing is pretty good, the acting is the same. But only watch this if you really have no personal feelings about conflict, backstabbing and turmoil within your own family. I'm not here to judge. Shows tone just didn't sit right with me. To each their own.

This show ropes you right in. Fantastic acting and performance by the crew. The filming on this was phenomenal too. It matched the pace and tone of the emotion being evoked.

Only 6 episodes in, but I'm glad Nick recommended this show to me.

This is a bit of a curiosity, American made (of course) but with a British creator, Jesse Armstrong, and largely British writers and directors; it channels such Machiavellian British classics as The Death of Stalin, The Thick of It (for which Armstrong wrote) and maybe even I, Claudius. So it's a bit like Fleetwood Mac: American to outward appearances, but on a solidly British base.

Why then - given that it is far better than any British TV drama of recent memory - was it not made in Britain? Sadly the answer is obvious: it is too big, and not woke enough. The BBC in particular would not now consider a flagship drama based round a self-made billionaire and his court, which steers clear of obvious political posturing*, and in which all the important characters are white and most of them male. I wouldn't be surprised if Armstrong had touted a British version of this and then, falling flat, took it to the US in a state of high dudgeon - he wouldn't be the first.

I didn't warm to it at first. It does put together the worst of both cultures: British cynicism and American worship of money. Nobody ever acts unselfishly or for someone else's good, rarely are they even honest, and it is only their money that makes the characters more interesting than anyone you might pass in the street. Armstrong includes vitriolic diatribes against both Britain and America, thus biting both the hands that have fed him, and that's never a good look**. And, whilst a comedy like The Thick of It can perhaps work at a certain level although you dislike the characters, a drama cannot; there has to be some sympathy. But as the show goes on, actually you do sympathise with the characters to a some extent, much more so when they are up against it, and that is largely down to the quality of the acting. You see that they are people like anyone else, with the same hurts and issues. If they are rather shoddy people it is largely because of the very thing we might envy them, their Dad's money and position.

For most of it I thought we are meant to enjoy their pain and it is ultimately pointless voyeurism, a modern version of the ancient Roman punishment of tying someone up in a sack with a cockerel, and fox and a snake. But then right at the end there are two little acts of altruism, both from the same character - good they didn't need to do. And that character is therefore seen as the worthy winner of the show. So I guess it must have a heart after all, or they didn't want it to end on the same cynical note which had prevailed throughout. Whatever, it is the first show for some years that is not an insult to the intelligence. The reviews all say it's 'the best show on TV'; actually, at the moment, there's no contest. I do agree with Brian Cox though that a certain 'major twist' (although it's not a twist really, it's a long-expected event) comes too far from the end of the last series. It's his character that keeps it together and drives it forward; whenever he's not around for any reason, the show's grip distinctly slackens.

*The political message of the show is mixed. It is subtly critical of the Roys' influence, and the critique intensifies as it goes on, but it never feels like that is the point of the exercise. On the other hand, it buys into the myth of the self-made billionaire (in reality Rupert Murdoch, for example, didn't come from nothing: his Dad was an Australian newspaper magnate); and I think we're meant to take the eulogies towards the end at face value, that Logan is a forceful character who does what he has to do to get things done, and that that's a good thing. To that extent it is after all a true American drama, because in American drama the message is always basically that you gotta do what you gotta do; as opposed to British drama, the message of which is always that the world is full of injustice which we as a society need to put right. If there is something wrong, Brits believe that the government should do something - believe, that is, in collective responsibility; Americans, that govts never do anything useful and that people have to sort things out for themselves - legally if possible but, if not, whatever way they can. Two different world views, and there are things to be said for each of them; but there's no doubt which makes for better TV. Because Brits don't approve of people taking things into their own hands, their TV heroes are too passive and sensitive, the stories don't have enough drive and - although people keep trying - it's incredibly difficult to make good drama out of social workers, doleys, and phoning the council to unblock the drains.

**Bizarrely, though, they are nice about Dundee, Roy's fictional home town - having found a pretext to set an episode there, courtesy of a healthy slice of lottery funding.