I never thought Roman would *literally* stab Kendall in the back, but it worked so well. Shiv then spitting on his corpse was a nice callback too.
This profile of Succession's Jeremy Strong is fascinating partly because it's clear the writer fucking hates him: https://t.co/2iyISt1TUR
— Jason Pargin, author of John Dies at the End, etc (@JohnDiesattheEn) December 6, 2021
Brian Earl Spilner said:
Calling my shot.
Gerri and Roman will bang within the next 2 episodes, leading to that relationship falling apart completely.
Calm before the storm #SuccessionHBO #Succession pic.twitter.com/nllBIE2h7z
— hazel (@_heyyzzerr) December 6, 2021
Brian Earl Spilner said:
Clearly someone had insider info on Kendall and started tweeting about it
kendall roy + water pic.twitter.com/Ic8QyNW0EL
— meri lemon (@filmsexuals) December 6, 2021
FancyKetchup14 said:
That moment with Logan and Kendall at dinner might have been the most well-constructed scene in the series. That was so good.
the looks on Roman’s face in this scene are going to have me laughing for days #SuccessionHBO pic.twitter.com/1jZ2wz6VVz
— emma grace (@e_graceful) December 6, 2021
TCTTS said:
What if Kendall's secret somehow comes out that he basically killed a guy? And that Logan & co covered it up? I don't know if that "helps" the story going forward, but do we think that plot line is done or no? There have been two references to it so far this season…
Brian Earl Spilner said:
I think he'll go on the podcast and admit to it, while also throwing his dad under the bus for protecting him. Basically a PR murder-suicide.
What an amazing read. I can't get enough of the on-set stories of his weirdness and yes this author is mocking him the whole timeTCTTS said:
This is so good, and Jeremy Strong really does come across as somewhat insufferable...This profile of Succession's Jeremy Strong is fascinating partly because it's clear the writer fucking hates him: https://t.co/2iyISt1TUR
— Jason Pargin, author of John Dies at the End, etc (@JohnDiesattheEn) December 6, 2021
Quote:
When I asked Strong about the rap that Kendall performs in Season 2, at a gala for his fathera top contender for Kendall's most cringeworthy momenthe gave an unsmiling answer about Raskolnikov, referencing Kendall's "monstrous pain." Kieran Culkin told me, "After the first season, he said something to me like, 'I'm worried that people might think that the show is a comedy.' And I said, 'I think the show is a comedy.' He thought I was kidding."
Part of the appeal of "Succession" is its amalgam of drama and bone-dry satire. When I told Strong that I, too, thought of the show as a dark comedy, he looked at me with incomprehension and asked, "In the sense that, like, Chekhov is comedy?" No, I said, in the sense that it's funny.
"That's exactly why we cast Jeremy in that role," McKay told me. "Because he's not playing it like a comedy. He's playing it like he's Hamlet."
Quote:
Strong's dedication strikes some collaborators as impressive, others as self-indulgent. "All I know is, he crosses the Rubicon," Robert Downey, Jr., told me. In 2014, Strong played Downey, Jr.,'s mentally disabled brother in "The Judge." (To prepare, he spent time with an autistic person, as Hoffman had for "Rain Man.") When Downey, Jr., shot a funeral scene, Strong paced around the set weeping loudly, even though he wasn't called that day. He asked for personalized props that weren't in the script, including a family photo album. "It was almost swatting him away like he was an annoying gnatI had bigger things to deal with," a member of the design team recalled.
"I think you have to go through whatever the ordeal is that the character has to go through," Strong told me. This extreme approachRobert De Niro shaving down his teeth for "Cape Fear," Leonardo DiCaprio eating raw bison liver for "The Revenant"is often described as Method acting, a much abused term that, in its classic sense, involves summoning emotions from personal experience and projecting them onto a character. Strong does not consider himself a Method actor. Far from mining his own life, he practices what he calls "identity diffusion." "If I have any method at all, it is simply this: to clear away anythinganythingthat is not the character and the circumstances of the scene," he explained. "And usually that means clearing away almost everything around and inside you, so that you can be a more complete vessel for the work at hand."
Quote:
We first sat down in April, at a restaurant in Williamsburg. Strong, an avowed foodie, seemed to know everyone who worked there. He was midway through shooting Season 3, and he wore Kendall's brown corduroy jacket everywhere; Strong often borrows items from the wardrobe department, to help "elide the line" between fiction and life.
Quote:
Between takes, a writer named Will Tracy recalled an earlier scene, which called for Kendall to meet a reporter over a Waldorf salad: "Jeremy said, 'A Waldorf salad's way too old-school. That's something my dad would eat. It should be a fennel salad with a light vinaigrette.' " They changed the salad.
Quote:
As we passed through airport security, Strong set off the metal detector. He stepped back and took off his lucky-charm necklace. It beeped again. He took off his belt. It beeped a third time. "I have a leg brace," he explained to a security guy, and lifted his pants leg. After getting patted down, he told me that he had hurt himself on set. "I jumped off a stage, thinking I could fly, but it turns out I can't," he said. "It made sense in the moment, though." In the scene, Kendall is at the Shed, in Hudson Yards, planning his fortieth-birthday party. During one take, in a moment of "exultant anticipation," Strong leaped off a five-foot-high platform and landed in hard Gucci shoes, impacting his femur and his tibia. (The take was not used.) This was not his first "Succession" injury. In Season 1, Kendall gets stuck in traffic on the way to a board meeting and sprints through the streets. Strong wanted to be sweaty and breathless for each take, and he fractured his left foot running in Tom Ford dress shoes. "It's the cost to himself that worries me," Brian Cox told me. "I just feel that he just has to be kinder to himself, and therefore has to be a bit kinder to everybody else."
Before the flight, Strong popped a Xanax; he gets anxious flying, which he attributes to the "total surrender of control." As we boarded, an attendant told him that his cloth mask was unacceptable. With ten minutes until the gate closed, he raced through the terminal looking for a surgical mask. He found a vending machine, but the instructions were in Italian. When he finally figured it out, the mask got stuck in the rotating dispenser. He tried tilting the machine, but then told himself to keep cool. He ran into a candy store, which carried child-size surgical masks. He returned to the gate wearing a tiny sherbet-colored square.
At seven that evening, we touched down in Copenhagen. Strong was relieved to be returning to Tisvilde. "I don't feel stress there," he said in the car. "I don't feel colonized by all the wanting and needing. If I'm in L.A. or New York, I feel so encumbered by the weight of the profession that I'm in. And ambition." But, before leaving the city to join his family, he wanted a hamburger. Noma's burger offshoot was closed, so he looked up the nearest location of Gasoline Grill, a chain that makes his second-favorite burger in Copenhagen. The Web site said that the burgers were available until eleven, or until they sold out. The driver brought us to the Vesterport train station, where there was a Gasoline Grill kiosk on the platformbut the woman there said that they were all gone. "See, now I'm determined," Strong said.
We drove to another location, at a gas station. No dice. Foiled in his quest for the second-best burger in Copenhagen, he got back in the car and slumped his head. It was getting dark, so he directed the driver toward Tisvilde. "It does illustrate a good point," he said. "Which is that all drama is about wanting something very badly and not getting what you want."