A look at what Matthew Broderick, Alan Ruck, Mia Sara, Jennifer Grey and more have been doing in the years since the film was released in theaters on June 11, 1986.
Kimberly Nordyke
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Tag: Alan Ruck
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The Cast of ‘Ferris Bueller’s Day Off,’ Then and Now
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Alan Ruck grateful ‘nobody was killed’ in multicar crash at Hollywood pizzeria
Alan Ruck is doing fine after crashing his Rivian truck into a Los Angeles pizzeria on Tuesday.
The “Succession” star was spotted Thursday leaving a convenience store in L.A. and graciously answered a few paparazzi questions about the incident.
“I’m OK,” Ruck said in the footage obtained by TMZ. “I’m fine and thank God nobody was killed.”
Representatives for the actor did not immediately respond Friday to The Times’ requests for further comment.
On Halloween, Ruck’s electric pickup truck smashed into the side of Raffallo’s Pizza in Hollywood. The Los Angeles Police Department confirmed to The Times that a crash occurred around 9 p.m. Tuesday at the intersection of La Brea Avenue and Hollywood Boulevard. Four vehicles were involved in the collision and minor injuries were reported.
LAPD public information officer Matthew Cruz told The Times on Friday that “there was no crime involved in this incident and there was no arrest.”
Surveillance footage showed the Rivian traveling south on La Brea approaching Hollywood Boulevard when it rear-ended a vehicle. The impact pushed that vehicle into the intersection, where it then crashed into another vehicle. The Rivian, meanwhile, continued in a southwest direction, clipping a separate car before slamming into the side of Raffallo’s Pizza. Photos show the cab of the truck breaking through the building’s exterior.
A 32-year-old man from one of the other vehicles was hospitalized with non-life-threatening injuries, officials told KTLA-TV Channel 5. Ruck was not hurt and was later seen on video speaking with police at the scene, the local news station reported Thursday.
Law enforcement officials also told KTLA that no charges will be filed as a result of the multicar crash and impairment was not suspected.
While speaking to paparazzi Thursday, the 67-year-old Ruck acknowledged that he had been limping and wore a brace on his left knee. However, he said, they were not related to the crash.
“This isn’t from the accident,” Ruck said. “This is because I’m getting old.”
He also told the videographers that he’s aware that the recent crash is being compared to his famous Ferrari crash scene from his 1986 film, “Ferris Bueller’s Day Off.”
Incidentally, another of Ruck’s injuries made its way into a 2021 episode of “Succession.” The actor tore his shoulder while shoveling snow and the cast that he wore during his recovery was written into a Season 3 episode set inside Kendall Roy’s 40th birthday party. Ruck’s Connor Roy claims he had a fall at his ranch and annoys his younger brother by refusing to take off his coat during the lavish celebration.
Times staff writer Emily St. Martin contributed to this report.
Nardine Saad
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‘Succession’ star Alan Ruck crashes truck into Hollywood pizzeria: reports – National | Globalnews.ca
Actor Alan Ruck, best known for his starring roles in Succession and Ferris Bueller’s Day Off, crashed his truck into a Los Angeles pizza parlour on Tuesday, according to numerous reports.
Though it was originally unclear if Ruck, 67, was behind the wheel of the Rivian pickup truck that slammed into Raffallo’s Pizza building in Hollywood, police have since confirmed to CBS News that Ruck was indeed the driver.
The collision occurred around 9 p.m. local time and involved four vehicles, the Los Angeles Times reported.
In surveillance footage, the white Rivian can be seen driving southbound on La Brea before it rear-ends a vehicle at an intersection. The electric pickup then surges forward and crashes into another car. After clipping one final vehicle, the Rivian veers off-road and rams into the pizzeria.
A passerby recorded video of the Rivian at the scene. The cab of the vehicle is seen protruding from a crumbling exterior wall with its hazard lights blinking.
Ruck was reportedly uninjured in the collision. An unnamed 32-year-old man was taken to hospital with injuries that are not considered serious. It is not clear if the injured man was in a car or walking.
Ruck has not commented publicly on the crash.
The Los Angeles Police Department is currently investigating the incident. Drugs and alcohol are not a suspected factor in the crash and no arrests have been made.
Walter Rosales, the owner of Raffallo’s Pizza, told CBS the collision triggered an emotional reaction from diners and fans of the restaurant.
“It was really hard last night, all the people that were crying,” he said. “They were crying and giving thanks to God because we were alive.”
Rosales said the Rivian went through a wall into the pizzeria’s bathroom — which he’s glad was not in use at the time of the crash.
Ruck has played a number of iconic characters throughout his career, including Cameron Frye from Ferris Bueller’s Day Off. The film features one of the most iconic cinema car crashes of all time, when Ruck’s character accidentally sends his father’s 1961 Ferrari 250 GT California Spyder out a window.
Ruck is also known for playing Connor Roy in Succession, Stuart Bondek in Spin City and Stephens in the Keanu Reeves-led movie Speed.
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Sarah Do Couto
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The Eyes Don’t Have It: Succession’s Series Finale, “With Open Eyes,” Emphasizes That Hubris Makes You Blind
If Kendall (Jeremy Strong) hugging Roman (Kieran Culkin) toward the end of the series finale of Succession reminded viewers of anything, it’s that, when it comes to the Roys, love fucking hurts—and seems to cause far more pain than it’s worth. The last episode, “With Open Eyes,” offers an ominous title in and of itself without any backstory, but taking into account that it continues the Succession season finale tradition of using lines from John Berryman’s “Dream Song 29,” it adds yet another sinister layer. Berryman himself was haunted his whole life by his father’s suicide when the poet was just eleven. With Succession being, at its core, a show about daddy issues and what they can wreak, it seems appropriate to interweave this writer into final episode titles. And oh, what a final episode “With Open Eyes” is. And yes, it’s all about eyes in this narrative. Particularly how those with sight can be so blind (see also: King Lear).
The emphasis on eyes begins the moment Shiv (Sarah Snook) arrives in Barbados at the urging of her mother, Caroline (Harriet Walter), to come and comfort Roman after the beating he took at the end of episode nine, “Church and State.” Naturally, Shiv is only really interested in taking the trip so she can lock down another vote and really secure the GoJo deal for Lukas Matsson (Alexander Skarsgård), who has promised to make her the CEO once the merger and acquisition goes through.
Alas, in the business realm, where misogyny reigns more supremely than anywhere else besides politics, it’s clear that Matsson actually doesn’t feel that comfortable with Shiv taking the front seat while he rides shotgun at best, and in the trunk at worst. A profile in some New Yorker-esque rag featuring a cartoon of Shiv as the puppet master pulling Matsson’s strings (even though the article is called “Is Lukas Matsson Taking Over the World?”) does little to assuage his wounded ego. After all, he’s already being forced to stand in the shadows for the sake of the deal going through with an anti-foreign business president taking the reins (or not…the finale leaves that open-ended as well). And it seems to dawn on him that it would be so much better to have someone (a man, of course) in charge that he could boss around with far more ease than he can Shiv, who easily lives up to her nickname by shiving Kendall in the back at the end of the episode. And just when it seemed like the trio was getting along so well, too. That is, back in the kitchen of Caroline’s “hellhole in paradise.” After Caroline remarked to Shiv about being unable to “tend to” Roman, “There’s something about eyes. They just kind of, ugh, revolt me.” Shiv clarifies, “Eyes? Like human eyes we all have?” “Yeah, I don’t like to think of all these blobs of jelly rolling around in your head. Just…face eggs.” To be sure, that is what they amount to when you can’t really see past the blinding nature of your own hubris.
Something all four of the Roy children suffer from…because let’s not forget about Connor (Alan Ruck). Even if his appearance is minimal as usual, but nonetheless effective. Especially when, via a fresh home movie, he stands next to Logan (Brian Cox) and delivers a performance of “I’m a Little Teapot” “in the manner of Logan Roy.” The lyrics then, naturally, go, “I am a little teapot—fuck off! Short and stout—what did you fucking call me? Here’s my handle, here’s my fuckin’ spout. When I get steamed up, you can hear me shout—Frank Vernon is a moron, Karl Muller is a kraut!” But Karl (David Rasche) can still sing a good Scottish folk song as he regales the dinner table with his rendition of “Green Grow the Rashes, O.” The lyrical content of which hits too close to home for the Roy children as they listen to the words, “Green grow the rashes, O/The sweetest hours that e’er I spend/Are spent among the lasses, O/The war’ly race may riches chase/And riches still may fly them, O/And even though they catch ‘em fast/Their hearts can ne’er enjoy them, O.”
What modicum of something resembling “hearts” the Roy children might have certainly don’t allow them to enjoy much, that’s for sure. Indeed, they all seem like masochists who actually relish torturing themselves, and reminding the other siblings of who they really are. For a brief moment in the episode, Shiv and Roman are compelled to make Kendall forget who he is at his core by obliging him in his long-standing, ceaseless desire to become Waystar Royco’s CEO. Upon Kendall informing Shiv that Matsson ousting her (per craftily-secured intel from Greg [Nicholas Braun]), the trio at last aligns to form a bloc that will stop the vote from going through. The only problem, as usual, is that none of them can agree on who should be CEO.
With Kendall swimming out to a dock to let his siblings confer in the darkness of a Barbados beach, Shiv and Roman discuss whether or not they ought to finally just let Kendall have what he’s been dreaming of ever since this whole saga began. Roman asks, “Should we give it to him?” An annoyed Shiv says, “Yeah, we probably should.” Shiv pauses and then adds deviously. “Unless we kill him.” Although meant “in jest,” it’s ultimately exactly what Shiv decides to do by ousting her big bro at the last minute. And when she cuts him with that knife, he definitely bleeds, saying, “I feel like…if I don’t get to do this—I, I feel like, that’s it. I might, I might, uh, like I might die.” And there is that exact feeling as we watch him sink via the elevator back into the bowels of the cruel real world. Whether or not he tries to kill himself now, Kendall is already dead.
Perhaps it’s all part of his karma for Andrew Dodds (Tom Morley), the waiter who ended up drowning at the end of season one as a result of Kendall’s insatiable search for drugs. When Kendall spots the waiter, just fired from Shiv’s wedding by Logan, he asks him for a “powder” connect. When Andrew tries to offer him some ketamine, which he does himself, Kendall insists he needs a “different vibe tonight”: coke. Thus, Kendall drives them through the darkened English countryside in search of Andrew’s connection. When he sees a deer in the road and swerves, Kendall crashes the car in the water, leaving a ket’d-out Andrew to die. In the present, when Shiv and Roman bring the murder up (which Kendall confessed to them in the season three finale, “All the Bells Say”), Kendall has lost all sense of guilt for the “incident,” immediately responding, “It did not happen. I wasn’t even there.” He then reiterates, “It did not happen!” Because when rich people say something didn’t happen, then it definitely didn’t. But this denial makes Shiv all the more disgusted by her brother, and therefore convinced they’re better off selling the company than letting him be the CEO. Blinded by her own jealousy, of course, she would rather watch the company burn in someone else’s hands than let Ken take his shot. And, talking once more of eyes and sight, when Roman reminds that, in terms of “bloodline,” Ken’s children aren’t “‘real’ real,” he escalates the eye jelly comment Caroline foreshadowed to the next level by pressing Roman’s eyeballs in (already having mushed Roman’s face into his shoulder in that previous scene of “aggressive love”).
This gives Shiv her opportunity to go back into the meeting and cast her vote in favor of the GoJo deal despite being betrayed by Matsson. And despite the fact that the CEO position will go to, of all people, Tom fucking Wambsgans (Matthew Macfadyen). The one person who should have been axed ages ago both personally and professionally, but managed to shapeshift his way to the top. Indeed, it’s his “mutability” that makes him so appealing to Matsson, whose opinion of this non-person is obviously cinched when Shiv describes him as “very plausible corporate matter” and “a highly interchangeable modular part.” In other words, exactly what Matsson is looking for in his own puppet. And, being that Tom sells himself by noting of his current position, “I’m cutting heads and harvesting eyeballs,” Matsson can tell he’s got the chops to give the chop to whoever he says, whenever he says. Of course, Tom’s mention of harvesting eyeballs is yet another nod to the notion of sight and vision—or rather, lack thereof—in this episode, and in Logan’s progeny.
Kendall obviously had no foresight about Shiv’s sudden treachery, prompting him to continue to stand in disbelief in the office where the emotional and physical altercation transpired. Roman finally lays the truth out for him: “It’s fuck-all, man. It’s bits of glue and broken shows, fuckin’ phony news, fucking come on.” Unable to see that reality, Kendall keeps urging, “We have this, we can still do this.” Himself seeing clearly for the first time, Roman balks, “Oh my god, man, it’s nothing. Okay? It’s just nothing. It’s fucking nothing. Stop it!” Kendall, who has placed his entire identity into this role of “successor” cannot believe what Roman is saying, repeating “no” over and over again until Roman interjects, “Yeah. Hey, we are bullshit… You are bullshit. You’re fucking bullshit, man. I’m fucking bullshit. She’s bullshit. It’s all fucking nothing, man. I’m telling you this because I know it, okay? We’re nothing. Okay.”
And so it is that Roman is the one to finally admit that what Logan said at the beginning of season four was accurate, even if harsh: “You’re such fucking dopes. You’re not serious figures. I love you, but…you are not…serious people.” Only ornaments and pawns in the life of Logan, the quintessential King Lear figure of this narrative. And yet, a Cordelia never seems to manifest in any of his children. It’s nothing but Regans and Gonerils where the obsession with “winning at inheritance” is concerned.
Genna Rivieccio
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5 Questions To Consider As You Get Ready For The ‘Succession’ Finale
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There’s no Iron Throne, but the stakes feel just as high.
“Succession”, the critically acclaimed drama chronicling a Murdoch-esque feuding billionaire family, wraps its four-season run on Sunday May 28 with a highly anticipated 88-minute finale.
And just like another tentpole HBO show, “Game of Thrones”, there’s no shortage of theories over how the series will end and who will prevail. But instead of a throne, the Roy siblings are battling over the sprawling Waystar Royco media empire.
The Shakespearean-level intrigue has prompted speculation among fans looking for clues in past episodes, characters’ names and elsewhere. Even the final episode’s title, “With Open Eyes”, has critics poring through the John Berryman poem that has been used for each season finale’s title.
Here are some of the questions that remain as the finale nears.
WHERE DO THINGS STAND WITH THE ROY FAMILY?
“Succession” has been about who will ultimately run the media conglomerate founded by Logan Roy, the belligerent and profane Roy family patriarch played by Brian Cox.
For most of the series, three siblings have been vying for the crown: Kendall, played by Jeremy Strong; Roman, played by Kieran Culkin; and Shiv, played by Sarah Snook. A fourth sibling — Connor, played by Alan Ruck — instead mounted an ill-fated run for president.
By the end of season three, the siblings had buried their differences enough to attempt a corporate coup of their father — only to be betrayed by Shiv’s husband Tom Wambsgans, played by Matthew Macfadyen.
Brian Cox in ‘Succession’
— Photograph by Macall B. Polay/HBO
The series’ most shocking twist came early this season, when Logan died on his way to close a deal with GoJo, a tech company.
Logan’s death and the power vacuum it created have led to renewed struggle among the siblings, with Kendall and Roman hoping to block the GoJo deal.
READ MORE:
‘Succession’ Directors Filmed Tense Fight Scene Without Knowing Shiv Was Pregnant
WHO WILL PREVAIL?
Show creator Jesse Armstrong told The New Yorker earlier this year “there’s a promise in the title of ‘Succession,’” a sign that there’ll be some certainty at least on this question.
The finale could live up to Logan’s statement in season 3 that life is “a fight for a knife in the mud.”
Kendall appeared in the penultimate episode to be on track to follow in his father’s footsteps, delivering an impromptu eulogy at Logan’s funeral after Roman was too grief-stricken to do so.
Jeremy Strong as Kendall in “Succession”.
— Photo: Courtesy of Warner Bros. Media
After aligning himself with the far-right presidential candidate Jeryd Mencken — who the Roys’ network questionably declared the winner — Roman’s fortunes appeared to be falling and was seen fighting with protesters in the streets in the final scenes.
Shiv, meanwhile is still trying to shepherd the GoJo deal with a plan she’s concocted that would install her as the company’s chief executive in the United States.
Connor, after losing every state and endorsing Mencken, is instead planning for his hoped-for ambassadorship.
There are a few wild cards that remain, within and outside the Roy family. The biggest one of all is Greg, the cousin and fan favourite played by Nicholas Braun, known for his awkward quotes and verbal abuse he endures from Tom.
READ MORE:
‘Succession’: Kendall Roy’s Manhattan Penthouse Hits The Market At $29 Million
WHO WON THE ELECTION?
All of this is happening with the backdrop of an unsettled U.S. election that may have been swung to Mencken (Justin Kirk) with the help of the Roys’ cable network and a seemingly not-coincidental fire at a vote centre in a swing state.
Justin Kirk as Jeryd Mencken in “Succession”.
— Photo: Courtesy of Warner Bros. Media
The scenario and the series’ Election Night episode has echoed the conversations revealed among Fox News executives and talent during the defamation suit by Dominion Voting Systems that led to a nearly $800 million settlement with the network.
“Succession’s” fictional election results have both professional and personal implications for the Roy family, with protests over Mencken erupting throughout the city. But even Shiv seems willing to put her moral qualms aside at the prospect of making a deal with Mencken.
WHAT ABOUT TOM AND SHIV?
Tom and Shiv’s marriage had been on shaky ground before he betrayed her to Logan at the end of last season.
This season it’s even more so, with the two holding a no-holds-barred argument at a pre-election party where the two traded grievances and insults.
Shiv’s revelation to Tom on Election Night that she’s pregnant prompted one of the most gut-wrenching responses, with Tom asking her whether she was telling the truth or just using a new tactic against him.
The show continues to offer some signs of affection between the two, with Shiv telling an exhausted Tom to sleep at her apartment after the funeral, but it remains to be seen whether their marriage is salvageable.
READ MORE:
Kieran Culkin Clears Up Confusion About Roman’s Wife And Child In ‘Succession’
The finale. Tomorrow on Max. #TheOneToWatch @StreamOnMax pic.twitter.com/TY3i5ORRcv
— Succession (@succession) May 27, 2023
IS THIS REALLY THE END?
There are plenty of examples of shows that lived on after their finales. “Game of Thrones” spawned a popular prequel series, “House of the Dragon”, while “Seinfeld” got a second try on its much-maligned finale on “Curb Your Enthusiasm”.
Even “The Sopranos”, known for one of the buzziest finales of all time, came back with a movie looking at Tony Soprano’s beginning.
Armstrong has left open revisiting his characters in another fashion, and the possibilities for doing so are endless. A Tom and Greg buddy comedy? Or maybe a Logan Roy origin story, just to reveal the first time he said his signature vulgar phrase.
Melissa Romualdi
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Cameron Frye and Connor Roy: “My Old Man Pushes Me Around” No More!
Just as it is for the Roy family at large, for many viewers of Succession, Connor Roy (Alan Ruck) is pure background. It hasn’t really been until season four that he’s been permitted his moment to shine. To “take a stand,” as Ruck’s most famous character, Cameron Frye, would say. And it starts with episode two, “Rehearsal,” in which he displays the full extent of his vulnerability during a karaoke session. Not just because he opts to sing Leonard Cohen’s “Famous Blue Raincoat” but because, just as he did in Ferris Bueller’s Day Off as Cameron, he decides to take a stand and defend it. And yes, singing Leonard Cohen at karaoke (even if only in a room as opposed to a more public stage) definitely counts among the ranks of taking a stand and defending it (regardless of Roman [Kieran Culkin] jibing, “This is Guantanamo-level shit”).
It’s no coincidence that he should choose that particular song, either. Not with Cohen singing, “I hear that you’re building your little house deep in the desert/You’re living for nothing now, I hope you’re keeping some kind of record.” Lest one needs to be reminded, the early seasons of Succession find Connor living alone in the desert of New Mexico in his palatial palace. A cold place in a hot climate, where he still can’t seem to finagle something akin to love. Not even from his “girlfriend,” Willa (Justine Lupe), a call girl he pays to keep around. Eventually paying enough to make her want to be his full-time girlfriend. But back to the lyrics of “Famous Blue Raincoat,” also fitting for Connor’s sibling situation with the Cain and Abel allusion in the line, “And what can I tell you my brother, my killer?”
Both Kendall (Jeremy Strong) and Roman have no need of killing their half-bro, however—for he’s so irrelevant to their patriarch, Logan Roy (Brian Cox), that wasting any energy on him would be wasting much-needed focus on “securing the position.” CEO of Waystar-Royco. Something that was never going to belong to “hapless” Connor, who spent three years of his childhood without seeing his father at all. “Attachment” isn’t exactly a thing between him and Logan, nor is it between Cameron and Morris, who never appears once in Ferris Bueller’s Day Off—merely looms large as a source of fear. Especially after Ferris (Matthew Broderick) gets Cam (“Con” also has a shortened version of his name) to take his dad’s Ferrari out for the day.
Not one to be disagreeable, Cameron ultimately concedes to loaning out the car after several half-hearted attempts at protesting. Lying in bed genuinely sick (even if only in the head) as opposed to Ferris’ fake-out version of sickness, it’s clear Cam’s family doesn’t need to be played to in order for him to get out of school. They’re never around anyway. Least of all his father, off being the “provider” of the family, therefore excused from anything like involvement. Yes, it sounds a lot like Logan Roy. And Cameron, like Con, leads a privileged existence with the trade-off of never experiencing any emotional attachment or care whatsoever. With regard to “Con,” there’s one in every family, to be sure. Someone who never gets quite the same amount of attention or consideration. Whether because their personality is more demure or they don’t seem “special” enough to warrant as much care. Connor falls into both categories, with Shiv (Sarah Snook) in the Sloane Peterson (Mia Sara) role and Kendall and Roman trading off on being the overly arrogant Ferris Bueller (Roman obviously being more Ferris-y than Ken). A scene of Cameron stuffed in the back of the Ferrari that Ferris and Sloane are effectively using him for speaks volumes vis-à-vis this dynamic. The only time anyone bothers with Con is when they need him for something…so basically they never much bother with him.
Sure, he’s there for “ceremonious” events like birthdays and family vacations, but, by and large, he’s out of the fold. Until season four rolls around and, suddenly, the “Rebel Alliance” that is Shiv, Kendall and Roman ends up prompting Con to say, “This is how it is, huh? The battle royale? Me and dad on one side, you guys on the other.” This after Willa has walked out on their wedding rehearsal dinner, leaving Con with no one to “turn to” for “comfort” but his so-called family. The trio of his siblings (all of whom show up late because Logan cut off their helicopter access) amounts to one giant Ferris Bueller, the narcissist in the dynamic constantly taking up space and demanding more from the Cameron/Connor of the outfit. Meanwhile, all Connor is asking for is a round of karaoke at Maru, one of many overpriced options within the parameters of Koreatown’s 32nd Street.
Upon arriving to said location (under duress for most of them), Connor is quick to admit that he told Logan where they are, and he’s coming over to “talk things out”—presumably the deal that Shiv, Kendall and Roman want to fuck by asking for more money of Lukas Matsson (Alexander Skarsgård) in exchange for merging his streaming company, GoJo, with Waystar. In defense of himself, Connor replies to the sibling backlash, “My life isn’t filled with secrets like some people. And I want my father to be at my wedding.”
To everyone’s surprise, though, Logan wants to make an “apology.” Or the closest he can get to one. But with all the hemming and hawing, Kendall is quick to redirect his father’s messaging by demanding, “What are you sorry for, Dad? Fucking ignoring Connor his whole life?” He later adds, “Having Connor’s mother locked up?” This being why Connor refers to the cake at his wedding as “loony cake.” A type of dessert he apparently associates with Victoria sponge cake and doesn’t care for at all because it was what was fed to him for a week after his mother was institutionalized. So yeah, even Kendall can take a moment here and there to stand up for his older brother and acknowledge that Con might have had a more emotionally bankrupt childhood than all of them.
In that regard, his bid for normalcy is earnest when he declares to his brothers and sister, “I would like to sing one fucking song at karaoke because I’ve seen it in the movies and nobody ever wants to go.” Perhaps he saw it in a certain form in the movie that he co-starred in with Broderick, as the latter plays the titular character lip-syncing to Wayne Newton’s “Danke Schoen” and The Beatles’ “Twist and Shout” on a parade float in the middle of Chicago. Something Cameron nor Connor would ever do. Possibly because attention-seeking is a type of love-seeking. And that’s never been either character’s “game.” Though both slowly start to realize that maybe it should be. Even as Connor notes something as heart-wrenching to his siblings as, “The good thing about having a family that doesn’t love you is you learn to live without it… You’re all chasin’ after Dad saying, ‘Oh love me, please love me. I need love, I need attention.’ You’re needy love sponges, and I’m a plant that grows on rocks and lives off insects that die inside of me. If Willa doesn’t come back, that’s fine. ‘Cause I don’t need love. It’s like a superpower.”
Cameron Frye knows that’s not entirely true. It’s also a curse that causes severe anxiety and depression, finally pushing him toward the revelation, “I’m bullshit. I put up with everything. My old man pushes me around…I never say anything! Well he’s not the problem, I’m the problem [cue a lawsuit against Taylor Swift]. I gotta take a stand. I gotta take a stand against him. I am not gonna sit on my ass as the events that affect me unfold to determine the course of my life. I’m gonna take a stand. I’m gonna defend it. Right or wrong, I’m gonna defend it.” Something Connor must decide to do in “Connor’s Wedding,” easily the most landmark episode of Succession ever aired. And yet, as usual, just because his name is in the title doesn’t mean he gets the theoretical spotlight. No, this is all about his father. Just as it always is. The same geos for Cameron and Morris, inciting the former to finally lose it and kick the shit out of the Ferrari as he screams, “I’m so sick of his shit. I can’t stand him and I hate this goddamn car! Who do ya love? Who do ya love? You love a car!”
To this, Logan Roy might placate, “I love you…but you are not serious people.” These are his final sentiments directed at his children. Though no one is aware of it until the next day, when Logan’s heart fails (ironically appropriate) while on a private jet to negotiate the deal again with Matsson…thanks to his own kids painting him in a corner to do so. It was the previous night at karaoke that Logan understood the scope of his disgust with them. For here he is, the affluent, distant father figure (like Cameron’s) being unclear what more his children could “take” or want from him after everything he’s already given. Back out on the street with his latest “right-hand woman,” Kerry (Zoe Winters), he clocks a homeless man digging through the trash and seethes, “Look at this prick. They should get out here. Some cunt doing the tin cans for his supper, take a sip of that medicine. This city…the rats are as fat as skunks. They hardly care to run anymore.” Obviously taking a swipe at his lazy, greedy children. Except for Con, who really just wants it all to be over. Unfortunately, it’s only just getting started now that Logan is dead. And as usual, Con is the last to know about it, gently informed by Kendall only to instantly reply, “Oh man, he never even liked me,” trying to smooth that statement over with, “I never got the chance to make him proud of me.”
Of course, that was never going to happen. Because there is no “pleasing” a man like Logan or Morris. And Connor always getting the short end of the stick from his father reaches a poetic peak with him dying on Connor’s wedding day, casting a dark, attention-stealing pall over the event. All Con can finally assess about it to Willa is: “My father’s dead and I feel old.” Cameron probably would have said the same thing. And he, too, probably would have soon after carried out his intended plans for the day. After all, he’s not one to let his old man push him around anymore, especially not now that he’s dead. He’s going to take a stand (for “love”) and defend it. Right or wrong.
That’s why, in the end, he goes through with the wedding, not bothering to join his three half-siblings as they go to deal with their father’s body and make a statement to the press. In this sense, Connor has always been the freest, learning long ago not to bother chasing down the love of a patriarch who was incapable of it. Perhaps learning that from the person he was in another life: Cameron Frye. Meanwhile, Connor’s siblings will continue to volley for Logan’s invisible favor in not-so-subtle ways even after he’s gone.
Genna Rivieccio
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‘Succession’ Cast Reveals What’s Most At Stake Following The Season 4 Premiere (Exclusive)
By .
Warning: Spoilers for “Succession” season 4 episode, “The Munsters,” written by creator Jesse Armstrong and directed by Mark Mylod. Alan Ruck, Kieran Culkin and more from the cast talk to ET as they break down what’s at stake for members of the Roy family and tease the shifting dynamics that will follow the first episode.
The Emmy-winning family saga, “Succession”, is finally back with new episodes, as the HBO series comes to a close with its fourth and final season. According to the cast, the final installment promises to be as “surprising” as ever, with the “gloves coming off.”
“It’s thrilling to watch,” Alan Ruck teases, with Nicholas Braun adding that “this season is just ratcheted up. It’s kind of just madness. And the intensity of it all is another level than we’ve had in the last three seasons.”
Taking place just a few months after the shocking season 3 finale, the premiere picks up with three of the Roy siblings — Kendall (Jeremy Strong), Shiv (Sarah Snook) and Roman (Kieran Culkin) — striking out on their own, as they prepare to launch a “revolutionary new media brand” to compete with their father Logan’s (Brian Cox) aging conglomerate, Waystar Royco.
“They’re sort of forging their own path together,” Culkin says of their plan, despite lingering doubts. “It’s a good idea, but there’s a couple reasons to hesitate… Like, going toe to toe with Dad is scary because historically, anytime anyone does that, they lose.”
Elsewhere, Logan is celebrating his birthday with his cohort of longtime executives, including Gerri Kellman (J. Smith-Cameron), and the remaining family members who’ve sided with him, son Connor (Ruck) and his fiancée, Willa (Justine Lupe), Shiv’s estranged husband, Tom Wambsgans (Matthew Macfadyen), and cousin, Greg (Braun).
The episode then sees the two sides of the family get into a bidding war over Pierce Global Media, which is run by matriarch Nan Pierce (Cherry Jones), with Kendall, Shiv and Roman ultimately beating out their father — and securing an early win in their ongoing personal and professional war.
(Although Jones’ return in the final season is “quite small,” she says she enjoyed the part she had in it. “The few times I got to play with the gang, it was just heaven on a stick.”)
“I think what they actually want to do is get rid of Dad. They want to fight him and beat him. They wanna make him feel bad,” Culkin says of Roman and his siblings’ continued efforts to take down Logan. The actor says Roman is “justifying it by saying, ‘It’s a good business decision.’ But that’s not why you’re doing it.”
However, for Roman, despite what may look good on paper, there’s a faltering need to keep going at it with his family. “Sure, that’s good business, but I don’t want to fight. I don’t want to do that anymore. We’ve done that so much,” Culkin says.
While a strong opening to the season, the episode just gives a taste of the stakes at hand and how things have dramatically shifted for many of the show’s other core relationships.
For Tom, who learns that Shiv wants a divorce, and Greg, who continues to rise within the ranks of ATN, that means a big change in how the two interact moving forward. “There are some shifts. There are some unexpected, aggressive turns in their relationship season,” Braun says. “Their relationship gets weirder and Tom is probably meaner than ever. Loyalty is tested for sure.”
When it comes to Gerri and Roman, in particular, things ended in “a very abrupt way,” Cameron says, describing the end of their relationship as a “cold and awful breakup.”
Culkin, however, suggests there’s no hard feelings between the two, at least not on Roman’s end. “It’s a couple months later and I feel there’s probably not really any bad blood,” he says. Despite ending season 3 on opposite sides of the attempted coup, “she made the right business decision in that moment for her and he knows that.”
But there still may be some fiery encounters to come, with Cameron teasing that there are still “some pretty heavy dynamics going on between them.”
For Connor, who mainly has sided with his father to keep bankrolling his presidential campaign, “his political ambitions” are his main focus, Ruck says. “It’s not an easy path but he’s determined to try to the best of his ability to make this thing move forward.”
And as teased in the previews for the upcoming episodes, there will be a wedding for Connor after he finally proposed to Willa during season 3. “Things seem to be moving forward with Willa. It seems like the marriage is on,” Ruck says, before adding, “Without spoiling things, there might be some bumps in the road. But we’ll see.”
But as we know from previous seasons, weddings on Succession are never drama-free.
“Succession” season 4 airs Sunday nights at 9 p.m. ET/PT on HBO and HBO Max.
Reporting by Stacy Lambe and Rachel Smith
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