Succession – Season One

Contents Landing Page Title Page Contents Introduction by Jesse Armstrong Note on the Text SUCCESSION: SEASON ONE Credits 1: Celebration 2: Shit Show at the Fuck Factory 3: Lifeboats 4: Sad Sack Wasp Trap 5: I Went to Market 6: Which Side Are You On? 7: Austerlitz 8: Prague 9: Pre-Nuptial 10: Nobody Is Ever Missing Acknowledgements Copyright SUCCESSIONSEASON ONE The Complete Scripts Contents Title Page Introduction by Jesse Armstrong Note on the Text SUCCESSION – SEASON ONE Credits 1. Celebration 2. Shit Show at the Fuck Factory 3. Lifeboats 4. Sad Sack Wasp Trap 5. I Went to Market 6. Which Side Are You On? 7. Austerlitz 8. Prague 9. Pre-Nuptial 10. Nobody Is Ever Missing Acknowledgements Copyright Introduction My first vivid memory of the project which would develop into Succession was trying to get out of it. It was about 2008 and I was on location for the filming of Peep Show, the UK sitcom my long-time writing partner Sam Bain and I wrote together. Between that show and my work on The Thick of It and In the Loop, and a bunch of other things, I was feeling overcommitted. That particular day we were pretending a very normal field in Hertfordshire was a safari park. I sloped off from set and, hiding from imaginary lions, tried to elegantly step away from the project. I failed. And in the following months as I wrote, slowly, I became certain the script was a dud. It was stodgy and odd. The original idea, a faux-documentary laying out Rupert Murdoch’s business secrets, with them delivered straight to camera, evolved as I worked into a sort of TV play, set at the media owner’s eightieth birthday party. Channel 4 were supportive, but it was an odd form, this docudrama/TV-play, and difficult to make happen. Around 2011, after a readthrough in central London where John Hurt played Rupert, the project essentially died. My US agent was the first person I recall suggesting a totally different approach. A fictional family, a multi-series US show. For five years or so I dismissed the idea, certain that a portrayal of a fictional family would never have the power of a real one. Four works changed my mind: HBO’s excellent Durst documentary, The Jinx; Sumner Redstone’s grimly business-focused autobiography, A Passion to Win; James B. Stewart’s propulsive Disney War; and Tom Bower’s fascinating Maxwell biography. These turned the idea of doing a media-family drama without a singular real-life model from a terrible betrayal of reality into a tantalizing chance to harvest all the best stories. Here was an opportunity to explore all the most fascinating family dynamics within a propitiously balanced fictional hybrid media conglomerate. I took a long, deep dive into rich-family and media-business research. When Sam and I decided to bring things to a close on Peep Show, I flew out to pitch this media show around LA. I had a clear idea of where I wanted to develop the show, but my agent persuaded me appetites would be whetted if we had a number of potential homes. So, I spent three days doing a round of pitch meetings where I talked about this, as-yet-unwritten, idea in half-ironized terms as ‘Festen-meets-Dallas’. No stars, Dogme 95 camerawork. Scared of driving on the five-lane highways, I bumped around town in the back of a Honda Civic while a nice young man from my US agent’s mailroom ferried me between rooms stocked with identical tiny bottles of water and executives of vastly varying degrees of interest. Eventually I got to HBO, the place I most wanted the show to land, home to The Sopranos and Six Feet Under. I knew they might be receptive. Frank Rich – once known as the ‘Butcher of Broadway’ for his theatre criticism, but now an in-house consigliere – had championed my work there to the boss Richard Plepler and I’d previously developed a show with them. So, out the back of a French-style bistro on a three-cappuccino high, I pitched it to their head of drama and comedy, Casey Bloys. Sometimes a pitch stretches thin and threadbare, the fabric renting as you go, the other party peeping grimly through the holes. Other times, the air thickens, and you can feel the atmosphere in the room turn oxygen-rich as the enthusiasm you are trying to project transforms into an enthusiasm you are actually feeling. By the time I left LA, HBO had made an offer and Adam McKay, fresh from The Big Short, had said he would be interested in directing. I’d written another Succession forerunner, a script about the US political strategist Lee Atwater, for Adam and his producing partner Kevin Messick. It had been one of the few LA experiences I’d had where the excitement expressed at the start of the project sustained through the writing and attempts to get it made. This was 2016 and, once back in the UK, I wrote the pilot through the spring and summer in a one-room flat I rented on Brixton Hill, walking across Brockwell Park each morning, listening to podcasts and reading news about the Brexit referendum. Scotland had recently voted by a narrow majority to stay inside the United Kingdom and the abiding sense right before the Brexit vote was, yeah, change looms, it glistens, menacingly, promisingly, but it doesn’t happen. Not really. Really, everything stays the same. But then it did happen. And across the Atlantic, the Trump campaign was igniting – even if initially his candidacy felt like a slightly amusing, slightly too-vivid flash in the pan. Into early autumn, in fact, all serious people were still explaining to one another that Trump couldn’t happen. Although I suppose, looking back, there was a notable lack of detail in terms of the mechanism by which he would be stopped. I think a lot of the better films and TV shows I’ve been involved with have at their heart a quite simple impulse around which the more subtle layers are spun. In