Since Succession’s last season, a slew of dramas have devalued the show’s favourite target: the wealthy
? A satire of restaurant culture.? A satire, through and through, about rich Americans, its first season ribbing their colonial overtones in Hawaii and a second round examining their sexual liaisons in Italy. Hm, okay, maybe. I’m not sure all of this can be deemed as cutting examples of the genre, but it does seem to be a popular mode for a certain type of critically-adored show .
An understandable one, too. The cost-of-living crisis looms, the gap between rich and poor widens, and billionaires are now famous: they rampage through cultural, media and tech landscapes. Rihanna is one. Jeff Bezos is going to colonise space. Elon Musk is destroying your tweets. It is understandable that many people would want to turn on their televisions to watch rich people suffer And for Hollywood, rich people are a helpful bogeyman.
These projects are often as shiny and hollow as a Jeff Koons balloon dog. And that mood has leaked intoRewatching the show’s third season, I was struck by how static it had become. The dialogue came fast, the jokes even quicker, but it was consistently ersatz. These characters have been hollowed out to a point beyond caricature.
Perhaps, then, a redirection is called for. The show’s greatest asset has always been that it’s never had a direct analogue. The Roys are a little like the Murdochs, but not really at all. The company the Roys run, Waystar/RoyStar, is a little like Disney, but not. There are traces of the Kennedys and the Maxwells. You could map certain characters onto real-life villains, but nothing truly fit perfectly. In that space, the show found a murky terror.
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