All via Succession this season, we’ve listened rumblings about a Pierce family and their strong status media empire. Finally, in Sunday’s episode, a Roys accommodate “those gentle fucks” face-to-face: mama Nan (Cherry Jones), her favorite niece Naomi (Annabelle Dexter-Jones), and a cackle of Ph.D.-clad, Brookings Institute–endorsed cousins. But “Tern Haven” isn’t so most a showdown as a show-off. The Roys are fundamentally auditioning for a Pierces, anticipating to feign adequate “moral character” to remonstrate Nan Co. to sell their 150-year-old family jewel.
The Pierces are snobby in a unconditionally conflicting approach from a Roys — they’re old-money abounding who quote Shakespeare instead of observant grace, and who toast with a family cocktail presumably pilfered from a Roosevelts — though even this East Coast kingship eventually wants a tiny some-more income alongside their Pulitzer Prizes and Ivy League degrees. After a dual families glad-hand over a cocktail hour, an painful dinner, and a late-night stargazing session, Nan forage her teeth and agrees to sell her gilded PGM empire. The Roy sham didn’t accurately work, though Gerri’s prophecy still came true: The cousins wanted yacht money.
Logan proves that income always wins in a end, though “Tern Haven” still leaves a Roy kids feeling like losers. During cooking with a Pierces, Shiv blurts out that she’s subsequent in line to run Waystar Royco, heading Logan to scarcely skip a PGM understanding after Nan insists that they make a period devise public. That one cooking is a meticulously plotted collision of a season’s dual biggest story lines. “We knew there would come a indicate where Logan attempted to take things brazen [with a Pierces]. We also knew there’s gonna be an partial where a guarantee that he finished to Shiv came to a boil,” says Succession creator and showrunner Jesse Armstrong. “We knew in that partial that we wanted it to explode.”
From a start, a Pierces were created as a conflicting kind of legacy-media family, only as absolute and monied as a Roys, though with maybe cleaner hands. “The Pierces are not formed on any one family, though formed on investigate into reputable, blue-blood, northeastern, legacy-media families like a Bancrofts, a Sulzbergers, a Graham family,” says Will Tracy, a episode’s writer. (A discerning refresher on those media-mogul bloodlines: The Bancrofts sole The Wall Street Journal to Rupert Murdoch’s News Corp. in 2007, a Sulzbergers possess a New York Times, and a Grahams sole a Washington Post to Jeff Bezos in 2013.) “One by line with those families was this suspicion that a media institutions they possess are not so most for-profit companies, nonetheless of march they are. They like to cruise of them as roughly a open good.”
That suspicion is essential to Logan’s gamble: He wants to remonstrate a Pierces that they aren’t giving adult their hereditary empire, though merely permitting another (extremely) wealthy, (extremely) absolved family to shepherd it. From a impulse a Roys exit their helicopter during a Pierce estate — grinning idiotically, Logan arm in arm with Marcia and Shiv — it’s a twisted, paralyzing farce. “We suspicion it would be engaging to see a family like a Roys carrying to put on a conflicting open face,” Tracy says. “To uncover them wanting something, to uncover them carrying to fake to be a happier-seeming family.”
Discomfort immediately hangs above a cocktail-hour chitchat: Shiv creates a fun about Mark Pierce’s umpteenth Ph.D., Maxim Pierce teases Connor about his long-shot presidential bid, and Naomi accuses Roman of perplexing to “order her family’s bequest over a phone like an Uber Eats.” Succession’s impression mostly creates we feel like you’re overhearing things we shouldn’t — “Making we feel a bit like, Fuck, what if we was in there with a dual absolute families?” as Armstrong puts it — and Tracy structured “Tern Haven” so those ungainly skirmishes would resonate via a episode. Logan looks around a cocktail hour, gritting his teeth as he sees all of his children fucking up. He calls his family together to secretly meal in a bedroom where he’s barking orders. It seems like a Roy-Pierce interactions can’t get worse, though this is Succession, so of march they do.
Everything comes to a conduct in a extensive dinner-party sequence, shot over dual days on plcae during a Long Island mansion. Pulling it off was no tiny feat: The show’s prolongation report final discerning shoots, that meant they couldn’t film any partial in apart chunks. Instead, partial executive Mark Mylod and his camera operators relied on a loose, “Altman-esque” impression to constraint any impulse as it happened around all a others. “Everybody knows that a cameras around a list could be looking during them during any time,” Mylod says. “Literally any singular take, I’ll be vocalization with a camera operators and saying, ‘Find me this moment.’ But that won’t be communicated to a actors. They only know that they’re on during all times.”
Behind a scenes, Mylod ratcheted adult a tragedy even some-more by approach of how his organisation filmed: The camera operators got physically closer to a Pierces and a Roys as a cooking progressed, swapping out lenses to make a change scarcely imperceptible. “Hopefully, unconsciously, one would feel some-more closely connected to a scene, though maybe though ever realizing why,” he says. “It’s like a really, unequivocally delayed chronicle of a Jaws shot that marks in on Brody. Hopefully, we get sucked into it so that eventually we feel like you’re during a list with them.”
The book for a cooking stage didn’t discuss seating arrangements, so Mylod finished list placements formed on a discourse and how he believed Nan would swing her purpose as host. “Nan would’ve put herself during a behind of a table, with her behind to a fireplace. She has a energy position. She’ll have put Logan conflicting her,” he says. Adds Tracy: “We didn’t wish to have transparent doppelgänger analogs. We didn’t wish any impression in a Roy family to have their possess bizarro chronicle in a Pierce family.” Instead, any pairing is designed to feed a ascent clarity of friction: Logan easily ring with Nan and Holly Hunter’s Rhea, Shiv floating awkwardly between Peter and Nan, Connor job Maxim a “deep-state wonk with both lips resolutely glued to a Soros teat,” and only about everybody violence adult on Tom.
An generally abounding impulse froth adult when Peter and Marcie ask Roman if he’s review any good novels recently. “In a way, it’s unequivocally a confrontational thing to do,” Tracy explains. (Confrontational? Or positively demonic?) “She doesn’t trust him, perhaps, though it’s all finished in a approach that keeps adult a veneer of amiability, that a Pierces are unequivocally good at. There’s a lot of subtext in a approach that they talk. They promulgate in these pleasing ways that have a some-more slicing subtext underneath.” Peter is kindly chatting with Tabitha until he starts to pry, seeking her if she’d have kids with Roman; Naomi opens cooking with a Richard II passage that is unequivocally a forked critique of a miserly Roys.
For his part, Mylod relished a possibility to make Roman “writhe and wriggle” in an worried spot. “It was Kieran’s possess regard that that character, whatever room he walks into, only unconsciously he has to make it his possess space. It’s a homogeneous of a tomcat pissing in a corners,” Mylod says. “We get to see that impression onslaught in a room, when he is routinely so during palliate since he honestly doesn’t give a fuck.” (The stage was primarily even longer, Mylod adds, though had to be cut for time: Roman went outward and phoned a crony for assistance in a extended version.)
Meanwhile, Kendall finds a frenemy in Naomi, another recuperating addict who clocks him immediately. “You do clarity that if they clap off their life story to any other, there will be some points where a other chairman would unequivocally be energetically nodding their head,” Tracy said. “We wanted to show, as subtly as we could, that junction hankie that can exist between dual people who are assembly for a unequivocally initial time.”
The crevasse between Logan and Marcia that’s been flourishing all deteriorate also rears a conduct during dinner, after Nan asks about her life and Marcia bristles during Logan batting a doubt aside. Mylod pronounced they attempted a impulse a lot of conflicting ways: “There was a bigger contention over how alcohol-fueled that was. In some takes, it was stone-cold solemn — a coldly confidant fuck-you to Logan in his tie to Rhea and a augmenting cognisance of that relationship,” he says. But they eventually went with a some-more “wine-fueled” take for a final edit: “That impression is so trained socially, there would have to be something to open that doorway for her to unequivocally display a tragedy between them.”
Eventually, Nan’s fake folksiness drops and she gets down to coronet tacks: Before a Pierces will even cruise a offer, they need to know who’s subsequent in line for a Waystar throne. As Logan creates excuses, deliberately avoiding discuss of his guarantee to Shiv, a demeanour of undone panic flashes opposite Shiv’s face and she blurts it out: “Oh for fuck’s sake, Dad, only tell them it’s gonna be me.” The oxygen is sucked from a room. How does such a essential scene, generally one with such tiny dialogue, demeanour on a page? “We did put a satisfactory volume of bid into creation it feel utterly crude and wavering and awkward,” Tracy says. “[The cast] played it so brilliantly that it does have that feel of realism. It’s a wily thing to do since we don’t wish anyone in a stage to act stupidly.”
“One of Shiv’s categorical flaws is her impetuousness. It’s her undoing in this episode,” Mylod adds. To worsen a cognisance of a moment, a camera operators stood “right behind a backs of a people during a table,” throwing any gutted greeting in a issue of Shiv’s shocker. Everything that came before was only an ungainly moment; now we’re into it, saying a season’s biggest conflicts adult close, with an additional covering of vigour combined when all a Roys are in a same room, being watched so closely by a cameras and by any other.
The Shiv impulse is a consummate of a scene, and a room deflates into a dumbfounded overpower afterward. No one has gotten an answer they’re confident with or assured by. “We knew that was going to happen, though not since [Shiv] was a puppet or since we wanted to do that for the amusement,” Armstrong says. “The kind of chairman she was meant that eventually she would.”