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Like other ‘peak TV’ era series, the show walks a fine line tonally, with the running-time and pacing of a drama but some wincingly funny moments along the way. Making Succession as a one-hour drama was another departure for a writer whose previous credits have been almost exclusively on projects labeled as comedies.
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He contends the success achieved in US TV by his compatriots including Iannucci and Black Mirror creator Charlie Brooker, means “Americans have a good degree of openness to creative talents from around the world.” The right tone It felt like a challenge to step up to that level of responsibility”. And in the end, serving as showrunner “was quite bracing. “I had a posse of people to ask for advice and bounce things off,” says Armstrong. Undertaking the role of showrunner – a position only just being adopted in the UK television industry - was made easier by the presence of fellow executive producers including McKay, who also directed the series’ first episode Frank Rich, the New York Times political columnist who was also an executive producer on Veep Kevin Messick, from McKay and Will Ferrell’s Gary Sanchez Productions company and Jane Tranter, much respected UK producer of shows including Torchwood and HBO’s The Night Of. And as a writer, the 10-part American HBO series, with the budget they can command and the cast you can assemble, that really is a very enticing prospect.” “Adam McKay was interested in directing, and he had just done The Big Short, so it came together as a potentially enticing package for HBO. “HBO was always the place I hoped would take an interest, and they did,” he says. He pitched the idea for the show to network chiefs in Los Angeles, though one premium cable channel - appropriately enough one whose studio parent Warner has just been swallowed by media conglomerate AT&T - was at the top of his list. “I very much wanted to do it in an American context.” “I’d read a lot in preparation for it, particularly Disney War and A Passion To Win, which is Sumner Redstone’s not very readable but pretty interesting autobiography,” Armstrong explains.
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Set in the wealthiest environs of New York, the show deals with power, politics and money as ageing patriarch Logan Roy, played by Brian Cox, begins to cede control of the family’s international media conglomerate to his four, frequently-warring children, played by Jeremy Strong, Kieran Culkin, Sarah Snook and Alan Ruck.Īrmstrong, who serves as showrunner and executive producer, says he was eager to set the series in the US because America provided much of the inspiration – and not just in the person of Rupert Murdoch – for the subject of a still unproduced screenplay Armstrong wrote earlier in his career. The show has how been nominated for five Primetime Emmy awards: for outstanding drama series outstanding directing for a drama series (for Adam McKay-directed episode ‘Celebration’) outstanding writing for a drama series (for Armstrong-penned episode ‘Nobody Is Ever Missing’ outstanding casting for a drama series and outstanding original main title theme music. He has also dealt with the vagaries and eccentricities of power, in the US as well as the UK, in Armando Iannucci’s two political satires The Thick Of It and Veep for TV as well as Iannucci’s feature In The Loop, for which he earned an Oscar nomination.īut what the UK writer had not done prior to HBO’s 10-episode Succession was create and run a drama series for a US network with a US setting and US subject matter. He was the co-creator of the award-winning sitcom Peep Show, and a writer on Christopher Morris’ terrorist black comedy Four Lions. Jesse Armstrong is an old hand at deconstructing, mostly to comic effect, the mores of British life and culture. Jesse Armstrong and Jeremy Strong on the ‘Succession’ set