He can’t help trying to seize his birthright, over and over and over again. “I am like a cog built to fit only one machine,” he pleads.
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And Shiv, in the end, chooses to free her family of its burden and approve a sale in a decisive board vote, a gift Kendall is fundamentally incapable of recognizing as such.
“I don’t think dad gave a fuck about anything more than putting one foot in front of the other,” she says, understanding what it truly means that Logan promised the company to all three of them at some point or another. Shiv, in the end, has the perspective to zoom out and state plainly what’s always been obvious from the outside. The show was a boomerang that always hit its mark. Forward momentum is almost impossible, as “Succession” demonstrates by returning to the same conflicts, setups and comic beats ad nauseam. But the Roys keep finding their way back to the same handful of arrangements and alliances. The circumstances are slightly different this time Logan is dead, and they’re trying to take over Waystar rather than forge their own path. This is, after all, where “Succession” started the season: with the three working together, first to found their own media venture and then to acquire a Waystar rival. “Succession” always implied this, working in allusions to Logan’s imposing uncle Noah and shots of scars on his back, and confirmed it with his brother’s eulogy in penultimate hour “Church and State.” Logan then passed on that lack of stability and support to his own children, who in turn were stuck in an emotional maze of their father’s making.Ī long stretch of “With Open Eyes” sees Kendall allied with his younger siblings Roman and Siobhan, inducing a dizzying state of déja vu. Logan Roy, the monstrous, Murdoch-esque founder of Waystar Royco, was the product of a tragic and harrowing childhood. The show could buck cliché when it wanted to, yet built itself around a pair of truisms: first, history repeats itself second, hurt people hurt people. They didn’t get screen time like Nan Pierce, but Lawrence Yee and even Ratfucker Sam got to take their bows.īut for “Succession” in particular, doubling down on its long-established DNA has its own, singular significance.
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(In the past, that gathering place could be a wedding or a funeral or a corporate retreat - but this time, it’s a board vote, just as it was in Season 1’s “Which Side Are You On?”.) And like the last hurrahs of many TV shows, it brought back small supporting players for a fond-ish farewell, a tradition “Succession” has honored all season. Like most episodes of “Succession,” it revolves around a seismic event that forces most of the cast into a single room. Like every season finale before it, “With Open Eyes” takes its name from John Berryman’s poem “Dream Song 29” and takes place, at least in part, in a foreign country.
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