At this rate, it would not surprise me if the season finale had Logan railing at the heavens while wandering half-naked in a superstorm.īut Shakespeare isn’t the only playwright shaping the new season of “Succession.” David Mamet has emerged as a rival god in the writers room. His hallucinations involve a dead cat under his chair. Logan mistakes Shiv (Sarah Snook), the daughter who’s been by his side throughout this corporate crisis, for his conspicuously absent wife.
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Roman (Kieran Culkin), a favorite son who fills in for the fool with his jejune mockery, dubs his father a “piss-mad king.” In the next episode, as an all-important shareholder meeting decides his fate, Logan staggers around in a delirium induced by a urinary tract infection. Forced to put on a show of family unity in front of a key investor (played by Adrien Brody), Logan physically falters while angrily hiking with Kendall across a landscape that might as well be in the shadow of the cliffs of Dover. This season, the writers on “Succession” have been playing up the age-related debility and mental fogginess of their crotchety corporate monarch. Logan’s imperious reaction to slights, his need to be worshiped by his children and the emotional value he places on loyalty suggest a paternal tenderness buried under protective layers of narcissism. His tunnel vision is both an accouterment of power and a tragicomic flaw. Like Lear, Cox’s Logan seems to have “ever but slenderly known himself,” as Regan remarks to Goneril about their rash father. She rightly noted that Logan “doesn’t have Lear’s majesty” and made the case instead for Richard III: “Logan’s reshuffling of family allegiances reminded me of Richard III’s reshuffling of his courtiers.” Noted Shakespeare scholar Grace Ioppolo took issue on Twitter with my comparison between Logan and Lear. “I put Logan on a level of a Titus Andronicus, or even a Julius Caesar and certainly a King Lear,” Cox told the entertainment awards website Gold Derby in 2019. In the past, Logan’s Lear-like connection wasn’t easy to disentangle from other Shakespearean dragon leaders. He’s cooperating with the Justice Department while plotting to take control of Waystar Royco with or without his siblings, who are as reluctant to throw their lot in with their erratic brother as they are nervous to cross their formidable father.
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To save his own skin and revenge himself on Logan, Kendall has turned whistleblower.
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Johnson in “The Great Society,” now on Broadway. Logan’s empire is under siege after Kendall (Jeremy Strong), the self-appointed filial successor to the throne, refused to be the fall guy for the company’s misdeeds.īrian Cox knows why ‘Succession’ reminds you of the Trumps: ‘It’s about entitlement’Īctor Brian Cox is having a major moment thanks to the success of HBO’s “Succession” and a starring role as Lyndon B. In the third season of “Succession,” the Shakespearean parallels have grown more pronounced. If Logan at times resembles a King Lear transported to 21st century New York, it’s not simply because the character is played by the inestimable Brian Cox, an actor who successfully tackled the role of Lear in a Royal National Theatre production that toured the world and wrote a book, “The Lear Diaries,” on the experience. With a single withering remark, he can cut the legs out from under one of his adult children grown too big for their britches. Ruthless in battle, he reserves his cruelest weapon, his bludgeoning wit, for those in his inner sanctum. Cut from the same cloth as Rupert Murdoch, he lords over his right-wing media kingdom with a dyspeptic ferocity that routinely erupts in a two-word kiss-off that can’t be printed in a family newspaper.
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Logan Roy, the patriarch of the HBO series “Succession,” is every inch an irascible king.