‘Succession’ Fans Brace for Series Finale of Emmy-Winning Hit Drama

This image released by HBO shows Justin Kirk as Jeryd Mencken in a scene from the series "Succession." (HBO via AP)
This image released by HBO shows Justin Kirk as Jeryd Mencken in a scene from the series "Succession." (HBO via AP)
TT

‘Succession’ Fans Brace for Series Finale of Emmy-Winning Hit Drama

This image released by HBO shows Justin Kirk as Jeryd Mencken in a scene from the series "Succession." (HBO via AP)
This image released by HBO shows Justin Kirk as Jeryd Mencken in a scene from the series "Succession." (HBO via AP)

Jennifer Gould, an Oregon-based trusts and estates lawyer, thinks the premise of “Succession” – HBO’s hit series chronicling a billionaire media mogul and his children’s struggles to take over the family company — is a little flawed.

“The idea that they wouldn’t have a firm succession plan in place is ridiculous,” Gould said.

Still, she has set aside Monday for “crying and grieving” after watching the hotly anticipated series finale airing Sunday evening.

With the critically acclaimed drama's fourth and final season ending, dedicated fans of “Succession” are locking in plans to watch the whopping 88-minute finale while turning online for emotional support, memes and endless theories about how the show could end and who will prevail.

“No one I know in real life watches the show,” Gould said, adding that the emotional toll of season four made her look for support online, which is how she landed on the social news website Reddit, where a chat dedicated to all things “Succession” has more than 456,000 members.

In preparation for Sunday, Gould also is rereading “King Lear,” among Shakespeare’s bleakest tragedies, about a declining monarch and his children’s battle for the crown. Gould thinks the play could offer clues to how the series will end.

“It’s fairly obvious that it’s a loose retelling of King Lear,” Gould said of “Succession.” “I watch it obsessively. I don’t think there’s another way to watch it.”

“Succession” always has been about the membership of its audience, not its size, and its popularity among the coastal media and agenda-setting groups that the show depicts and attracts means the finale should leave a cultural mark.

More recent prestige TV finales are a better analogue for “Succession” than those of the network behemoths of decades past. For example, “The Sopranos” suddenly cutting to black to the song “Don’t Stop Believin’” in 2007 set the standard for both talkability and inscrutability.

Pamela Soin, a management consultant in New York City, said the end of the monumental New Jersey mob saga was the only finale generating more excitement than “Succession” for her “because that was after seven years of investment.”

Soin and a group of friends have watched every “Succession” episode this season with a serious ritual.

“We turn off all the lights, cinema style, put on the surround sound and watch in complete silence,” Soin said. “Then we have a debrief.”

But Soin said she'll be alone for the final episode because of the Memorial Day holiday weekend in the US.

On social media platforms including Twitter, Reddit and the chatting app Discord, popular among gamers, “Succession” fans share countless memes and swirling theories about which of the Murdoch-esque Roy family members, corporate executives and hangers-on will prevail in the finale. Fans have searched for clues in past episodes, characters' names, the show's opening sequence and elsewhere.

Show creator Jesse Armstrong told The New Yorker earlier this year “there’s a promise in the title of ‘Succession,’” which some have taken as a sign that the show's central question will be answered.

Soin thinks the finale will leave many unresolved plot lines and questions open to interpretation.

“I love how they handle a lot of things off-camera,” Soin said of the show's writers, who throughout the series have peppered pivotal backstories of the main characters in later scenes and passing conversations.

“Just like in real life, you find out about things that happened when you weren’t there,” Soin said.

Conclusions to hit TV series can be hit-or-miss. The bloody 2013 ending of Walter White’s story on “Breaking Bad,” and Don Draper’s more zen ending on “Mad Men” in 2015, generally satisfied their finicky fans. The 2019 conclusion of “Game of Thrones” — the last big finish for an HBO show — generally did not. Endings are hard to pull off and disappointment tends to be the norm, to which the makers of “Seinfeld” and “Lost” can attest.

HBO has been able to ratchet up suspense ahead of Sunday's “Succession” finale in part by airing only one episode per week, a decision that fans who grew up in the streaming age may be too young to remember was once the norm for TV series.

Suraj Nandy, a 20-year-old college student from Bengaluru, India, said he was counting down the hours until Sunday's finale, which airs at 6:30 a.m. local time.

“I'm going to huddle, get a blanket and snacks and sit there in awe,” Nandy said.

An economics student at Canada's University of Western Ontario, Nandy said he was disappointed by the “Game of Thrones” conclusion and had watched all of “Breaking Bad,” too, but considers “Succession” “easily, by far, my favorite show of the bunch.”

As for his finale plans, Nandy said he'll join some friends online for a virtual watch party. But it won't end there.

“I’ll probably cry for a couple of days and then watch it again,” Nandy said. “I’d like to reexperience the whole thing in one sitting.”



Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
TT

Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.