Curated by the IndieWire Crafts team, Craft Considerations is a platform for filmmakers to talk about recent work we believe is worthy of awards consideration. In partnership with HBO, for this edition we look at how executive producer and director Mark Mylod, cinematographers Christopher Norr and Patrick Capone, and production designer Stephen H. Carter expanded the scope and cutthroat character psychology in Season 3 of “Succession.”
“Succession,” more than any television show in the last several years, has gotten tagged with the term “Shakespearean” — in part because that’s what people say when a show is meaty and good. But it’s also shorthand to describe the show’s blend of abusive family drama and exquisitely sharp humor, driven by both the writing and the show’s visual style. “Succession” not only dangles the question of who will Daddy Roy kiss but visually undercuts the privileged bubbles in which the Roys live.
“Succession,” more than any television show in the last several years, has gotten tagged with the term “Shakespearean” — in part because that’s what people say when a show is meaty and good. But it’s also shorthand to describe the show’s blend of abusive family drama and exquisitely sharp humor, driven by both the writing and the show’s visual style. “Succession” not only dangles the question of who will Daddy Roy kiss but visually undercuts the privileged bubbles in which the Roys live.
- 12/16/2021
- by Sarah Shachat
- Indiewire
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