I've had this theory for
a while, pertaining to many HBO series but Succession in particular. I truly believe that if
Succession aired on Showtime or Netflix or any other network or service
than HBO, it would have anywhere near the critical acclaim, rabid fan base, and
most of all, awards cache that it currently has. I think Succession, like
the Roy clan, is a series that trades fundamentally on the legacy and power of
its past than anything resembling the true quality of the product.
This is not a tinfoil
hat theory. In the two decades since The Sopranos became the first cable
series to win Best Drama and the present, more HBO dramas have been nominated
and won Emmys in this category than any other network. It’s not remotely a
close question. HBO has won Best Drama eight times in twenty years – The
Sopranos twice, Game of Thrones four times, and Succession twice.
Every year since 1999 at least one HBO drama has been nominated in this
category – some of them very qualified, some very thin choices.
For all the talk about
how the Golden Age has expanded the number of options for television, the
second place network in this regard is AMC, which won six times in seven years
– four times for Mad Men, twice for Breaking Bad. With the
exception of Showtime for Homeland, that’s it for cable. Nor has their
overall been much variety in the nominees. FX is occasionally invited to the
party, but has never won, USA was invited once for Mr. Robot, and BBC
America for Killing Eve. And as much as streaming was supposed to change
the face of television, Netflix has only won once – for The Crown in
2021. Hulu’s win for The Handmaid’s Tale occurred in a year Game of
Thrones was ineligible.
Broadcast television
clouded the picture for comedy for much of the 2000s, but it’s worth noting
this was pretty much the field for HBO for more than a decade, first with The
Larry Sanders Show, then Sex and The City, and finally Curb Your
Enthusiasm and Entourage. Not until 2010 did another cable network
manage to crash the party with Nurse Jackie in 2010 – a series many
questioned was a comedy at all. HBO has had a nominated comedy in the Best
Comedy since 1997, and there has been little room for other services to prevail
until the last five years. And it’s worth noting that some of the major
contenders over the last two years – The Flight Attendant and Hacks –
have been on an HBO streaming service.
The separation of Best
TV movie and Limited Series in 2014 was more or less done to stop the chokehold
HBO had on the category for over two decades. Even that has not led to more
variety in the recipients of the latter category: HBO has won in four different
times since then, and FX had won three other times. Netflix’s triumph for The
Queen’s Gambit in 2012, only came after HBO had taken three of the acting
awards (for Mare of Easttown) and Best Writing (for I May Destroy
You.) No matter the quality of the other nominees, whether they be American
Crime, When They See Us or Escape
at Dannemora, being an HBO product
seems to be enough to put you over the top.
I’m not arguing that
HBO series are necessarily inferior than so many other TV series in the age of
Peak TV. What I am arguing is that for more than fifteen years, even inferior
HBO shows can find a way to receive nominations over more qualified series
anywhere else. This can be true even when it comes within the network itself. I
believe True Blood wasn’t nearly as good as Big Love but it got
nominated more often. David Simon has always been a better writer for HBO than
Aaron Sorkin, but Tremé was ignored and The Newsroom won Emmys. The final season of In Treatment was utterly
glorious and a masterpiece of subtlety but all the attention that year was paid
to Lovecraft Country.
And this pertains to
any aspect of a series. The final episode of Lost was one of the most
divisive series finales in history and almost certainly affected its chances at
that year’s Emmys. The final episode of Game of Thrones is considered
one of the worst series finales in history, even by the die-hard fans. Most of
whom thought the last season was a disaster as well. Yet in 2019, Game of
Thrones still dominated the Best Drama Emmys. It’s not like there weren’t
better contenders that year – Better
Call Saul, Pose, This Is Us, Killing Eve – but it was a legacy award more
than anything else and hell, it was an HBO show.
An HBO series, you see,
has this aura that is based on being the first and breaking ground early and
that has carried many inferior series and their actors over the top well after
the ground was broken and the moment should have passed. But even after the
groundbreakers stopped coming, critics and awards are far more willing to give
the mark of excellence to an HBO series just based on where it came from. This
would be an egregious sin by any series but is particularly galling when you
consider both Succession and what makes it difference not just from the
HBO series that pioneered the way for it, but almost all of the truly
magnificent dramas of Peak TV ever since.
The three series that were
truly foundational in putting not only HBO but Peak TV on the map were The
Sopranos, The Wire and Deadwood. All
of these were groundbreaking in many ways – the violence and profanity at the
core, centering the shows on characters with no moral compass, the talent that
we saw both in front of and behind the camera. But what has made these series
stand the test of time in a way I just can’t see Succession doing is
that they were fundamentally about more than the surface. By telling the story of a mafia family, David
Chase was telling a larger story about modern day America and how today’s
generation always will make the choices that take the least effort no matter
what the damage is to others and even as their power wanes. By telling the
story of the drug war in Baltimore, David Simon showed us how badly all of the
major institutions in America have declined to the point that America itself
may be beyond saving. By telling the story of a lawless camp in the midst of a
gold boom, David Milch told the story of the symbolism and meaning of law and
community – as well as how the violence and the bloodshed of the individual pales
to the damage that unbridled capitalism will do the world.
(Deadwood also featured Brian Cox in
its third season who near the end of the show’s run had this exchange with Al Swearengen discussing a ruthless billionaire
capitalist:
“If the fucker didn’t
have shareholders, you could murder him in his sleep.”
Cox: Serpent’s teeth,
shareholders. Ten thousand would rise to take his place.”
Side note: Brian, there
was more truth about wealth in that line than anything Logan Roy has said in
three seasons on Succession. Not to mention David Milch used obscenities
more poetically. Back to discussion.)
Those who defend Succession
might argue that all of these ideas are played out in a fashion at Waystar
Royco, just among the rich and powerful rather than the poor. Even if you agree
with this argument, there is fundamentally missing from Succession that
was not just presence in the pioneering series but the best of television in
the two decades – consequences. None of the three David’s ever made us forget
that the consequences of the failures of the institutions and the unbridled ‘American
Dream’ always had a body count and left wreckage behind.
The best series in the aftermath
of the Revolution would demonstrate that, even if the viewer wasn’t as always
aware of it. We were fundamentally aware
of the body count that Walter White was leaving behind as a cost of becoming
Heisenberg throughout Breaking Bad. And while we rarely took into
account the fact that Walter White was building his fortune on the backs of
drug addiction, the series never quite let us forget that – most notably in a
second season episode where Jesse goes to collect a debt in a den of addicts
and becomes a firsthand witness of the cost of what his drug is doing to
people. In its later seasons, Homeland would often lay bare the consequences
of the War on Terror in ways both direct and subtle – in the final season
Carrie, who has returned to Afghanistan with an equivalent from Russian
intelligence, finds that one of the areas her colleague is using is the site of
a drone strike she called in which accidentally killed dozens of innocent civilians.
Mr. Robot, a series about a
vigilante who wants to take down the one percent managed to lodge a major
attack on the financial institutions of America – and the country spent the
next two seasons struggling to overcome the horrors that he had unleashed. This
was true even of series that I had problems with – Scandal focused so
much energy on Olivia Pope crisis managing the problems of the Washington
elite that in the classic ‘The Lawn Chair’, when she was called
in to handle a crisis involving a police shooting that she realized just how meaningless
her actions were to the general public – and how she couldn’t ‘handle’ the
institutional racism that affects so much of our country.
Far too much television
in the last decade has been focused on the bad behavior of the rich and
powerful rather than the consequences of their struggles. Succession is not
the worst offender of this even among HBO dramas (I’ll get to that in a bit) but it is more
important because unlike so many of them, it is about an issue that should be significant
to the country and the world and yet the writers don’t seem to think its
relevant.
The Roys are clearly
modeled after the Murdoch family – Jesse
Armstrong and the other writers have acknowledged as much – and even if they
weren’t, the world is painfully aware by now the damage that a mass media
conglomerate can do the country. But unless I’ve been missing some vital points
about Succession, none of the Roys have a vision for what will happen to
Waystar when they take over it. And the series has acknowledged in subplots
that there’s little difference in what the Roys truly hope to achieve with
their power and wealth. Throughout the series the family has been backing a
Presidential candidate who it is more or less implied is moronic and has
fascist tendencies. None of the Roys seem bothered or even care about the
consequences – all that matters is what is best for them and the company.
America doesn’t matter at all.
So let’s be clear what Succession
is: it is a series about the fight for a company that has for half a century
been built on destroying its competitors and anyone who stands in its way in
order to increase wealth and power. Everyone in the family is wealthy beyond
their wildest dreams; they do not need any more money. No one has a vision for
the company going forward. None of them are qualified to run it. And none of
them have anything resembling empathy for their own family, much less anyone else
in the world. No matter who ends up taking over the company, none of them lose
in the sense that most other characters on television have in power struggles.
They will still be as wealthy, powerful, and loathed as they were before. The real losers are the American people and maybe
every institution that the country holds dear. The only real way this could end
horribly is if any of the Roys go to prison for the horrible things they have
done. As we saw when Kendall revealed Logan’s complicity in a major scandal in
Season 2, that clearly didn’t happen and its unlikely it will in the final
season.
Sadly, this has become
a trend of far too many series in the last decade among peak TV. Game of
Thrones may have been the biggest offender in that sense. It may have been
able to hide that fact with dragons, magic, incest and tons of violence but it
does not change that when the series ended, for all of the bloodshed and death,
nothing fundamentally had changed for the people of Westeros. Many were
disappointed by the conclusion of Game of Thrones; a smart few realized
at the end of the day it was because all of this bloodshed wasn’t going to make
anyone in the Seven Kingdoms any freer.
Ozark, another ‘great series’
of this era, was much the same. The Byrdes spent the better part of four
seasons trying to get out from under the grip of a major drug cartel and doing
everything they could to walk away with their freedom near the end. They left a
trail of bodies, many of them innocent, and in the finale had no problem leaving
their most loyal follower to be murdered. Despite the vast talent of the cast,
it was hard to find any sympathy for them because of the fact that the only
consequence was they seemed to have to bear their guilt of their actions.
And in the era of
comedy, one has to list Veep. I have to say that even before the Trump administration,
I never truly saw the appeal of this show the way so many critics and audiences
did. All it seemed to show for seven seasons was that politicians are horrible
people with no empathy who have no joy in their lives. At the end of the day,
Selina Meyer was essentially a woman who was willing to destroy America in
order to run it. What is supposed to be entertaining about that?
The latter is key to
this in that both and Succession came from the minds of Armando Iannucci,
who appears to be making the same series over and over. All of his shows
apparently seem to be variations that the wealthy and powerful are unpleasant
people who hate everybody and will do anything to be at the top of the food
chain. This is hardly revelatory and in the case of Veep and Succession
doesn’t seem to count as entertainment. Apparently the reason we are
supposed to love these show is because of the vast array of talent using
variations of every conceivable profanity to insult each other while nothing
happens over entire seasons. When nothing of interest happened for most of
Season 4 of The Sopranos, critics and audiences were appalled. When
nothing really happens for almost the entire first three seasons of Succession,
somehow that’s the reason its such a great show.
In a way I already know
how Succession’s final season will end – with lots of Emmy nominations
in July. Because it’s like I said: HBO is the Waystar Royco of Peak TV. It was
powerful and significant once (justifiably, I will allow) but now the next
generation is taking spots away from more qualified series on lesser networks
based more on their parent company than their actual quality. In a sense it doesn’t even matter if the series
ends badly or even if the final season is terrible. Everyone hated the last
season of Game of Thrones, particularly the last episode. Yet when it
was time for the Emmys, it still received thirty nominations and won ten awards. Part of this may have been more due to the
nature of the institution that gave them, but a lot of them is for the same
reason the Roys never pay for their actions no matter how horrible they are to
each other or the world.
HBO controls the narrative.
Succession is a great series, no matter what critics or audiences
actually do think. There might very well be better shows that have aired in the
2022-2023 season – it’s hard for anyone to look at the final season of Better
Call Saul and not consider it living up to the hype that Succession just
doesn’t. But that may not change many voters opinions. I hope to be proven
wrong in the months to come but I am a realist. Succession is not well-written,
groundbreaking or revolutionary but its on HBO and that’s gives it the influence
among the elite that the Roys will have no matter who ends up running the company.
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