But their night of passion goes poorly, as she slips into a curious bit of dominatrix-style role play, which sees her seducing Tom while purring, “You’re not good enough for me,” and, “I don’t love you.” This revelation fires up Shiv, who heads back to her room and tells Tom that she is ready to fight for the top Waystar job - and to have a baby with him. (“I’ll have the carbonara and daddy,” is how her mother describes her daughter’s casual cruelty.) The real story? Shiv was 13 and she made an active decision to move in with Logan. In Shiv’s memory, her mother took a payout from Logan and then pushed her and her brothers to go live with their dad when she was 10 years old, all because Caroline didn’t want to play mommy any more. But Caroline won’t let her get away with this revisionist history. Shiv has long kept Caroline on the list of childhood disappointments she had to overcome. The conversation she has with her mother is just as revealing about “the Curse of the Roys.”
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While Logan is having a miserable dinner with Kendall, Shiv is stuck at a “girls night” with Caroline and some of her future in-laws. Like nearly every other one of his corrosive personality traits, this combination of greed, envy and paranoia has been passed on to his children - and to Shiv, in particular.
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Whenever someone he is negotiating with seems satisfied, Logan gets restless. He wants his family and his employees at his beck-and-call, but he doesn’t want to grant them any real boon. This whole scene - intense and emotional - neatly encapsulates the whole Logan Roy mentality. (In a further dig, he then asks Kendall of Iverson, “Is he getting better?”) And although he seemed willing to buy his son out before, he hesitates now that he has a counteroffer in hand. This is icy not only because it demonstrates a lack of trust but also because Logan seems blithely willing to sacrifice his grandson. He calls in Kendall’s autistic son, Iverson, to taste his food, to make sure it isn’t poisoned. “I won’t even speak at your memorial,” he says.īut Logan won’t play along. He also promises to stay out of Logan’s life forever. He will cash out of Waystar for two billion dollars while keeping one of the company’s media assets for himself. (“Afraid I’m going to Jim Jones you with an olive?” Kendall jokes.) And he prepared a reasonable proposal. He consulted with Logan’s doctor to make sure the menu fit with his dad’s restricted diet. Kendall has given this meeting a lot of thought. The third strike to Kendall’s psyche - the finisher - comes when he has dinner with Logan. ‘The Underground Railroad’: Barry Jenkins’s transfixing adaptation of the Colson Whitehead novel is fabulistic yet grittily real.‘Succession’: In the cutthroat HBO drama about a family of media billionaires, being rich is nothing like it used to be.
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‘Dickinson’: The Apple TV+ series is a literary superheroine’s origin story that’s dead serious about its subject yet unserious about itself.‘Inside’: Written and shot in a single room, Bo Burnham’s comedy special, streaming on Netflix, turns the spotlight on internet life mid-pandemic.
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Here are some of the highlights selected by The Times’s TV critics: Television this year offered ingenuity, humor, defiance and hope. That is the first blow to Kendall’s confidence. His hair is buzzed down to stubble - “stripping down,” he says - and he seems determined to make peace with his siblings and to settle his Waystar business.īut as soon as Kendall arrives, his mother pulls him aside and tells him about Peter’s awful “itinerary of events,” asking if her son can help divvy them up in such a way that he won’t be in the same space as Logan - per Logan’s request. He appears to be on a mission to straighten out his life after last week’s calamitous birthday party.
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This week, Kendall joined his family in scenic Italy for the wedding of Caroline and her old flame Peter Munion (Pip Torrens). It’s the same people who brought him into this world: his mother, Caroline (Harriet Walter), and his father, Logan. (Surely the show wouldn’t kill off a major character in such an ambiguous way?) We do know, though, who is responsible - in a roundabout way - for putting Kendall into that pool. Whether this is a literal or figurative death remains unresolved when the closing credits roll. From the camera’s perspective, it appears his face is also submerged. From underwater, in a shot aimed toward the pool’s surface, we see Kendall drop his bottle of beer into the water.
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At the end of this week’s episode of “Succession,” Kendall Roy is floating on an inflatable raft in a swimming pool, face down and clearly intoxicated.