shiv's motivations for voting to pass the gojo deal are so layered and i don't think they should be dismissed in favour of any one interpretation. shiv desperately grabbed on to a lifeline for her relationship with tom. shiv was the deciding vote and she couldn't bear to hold the crown only for a moment just to place it atop her brother's head. shiv knew she would have more influence as wife of CEO rather than sister of CEO. shiv absolutely hated seeing kendall crystallize into logan before her eyes, especially when he made roman bleed ("and if we did kill him we get to go to bed") -- succession has always been about siblings so of course she tried to free her brothers before her child. shiv still thinks she can raise her child with all the material benefits of being the daughter of waystar CEO while doing better by her, whatever that means. and all of those things are true
something about childhood in succession.. the way it casts its shadow over the entire narrative, the rotten root of the roy siblings’s pain, all wrapped up in Logan’s power and abuse and love. The opening credits are filled with images of them as kids, beginning every. single. episode. by emphasizing the importance of their childhood: the siblings posing for a photo, playing sports, standing on a manicured lawn, riding an elephant, etc. and then the shots of logan, in which he is always shown from behind, or far away. It is a childhood the viewer never gets to see in any other context, since there are no flashbacks in the show, and therefore as integral as it seems, we know almost nothing about it. What exactly happened? What are the details? We feel its presence, we can tell how it informs their relationships, we can put together the pieces of incomplete and contradictory memories expressed through dialogue, and if we trace their struggles and dysfunction back far enough we know it leads there, to when they were kids. But there is so much empty space we can’t fill in. It’s almost like their childhood is presented in that horror technique where you never get to see the monster clearly straight on. It’s always in darkness, and chopped up into close-ups so that the viewer’s imagination is forced to invent something, however vague, and that is far scarier than it would be if we could actually see it — a monster that is terrifying BECAUSE it’s unknown. The roy siblings’s childhood is a major force behind so much that happens on screen, but what specifically occurred is out of the reach of our understanding. We are shown the monster’s shadow but not the monster, we are shown the frightened faces of the characters as they look at something behind the camera we never get to see, we are shown the running or the fighting or the blood but never the true, bigger-picture, clear details of the horror itself
Yuri Gagarin and Vladimir Komarov were highly decorated Cosmonauts, both of which made firsts in the history of space flight.
Yuri Gagarin famously became the first man in space on April 12, 1961.
Vladimir Komarov piloted Voshkod 1 on October 12, 1964 on the first space mission to carry multiple crew members. He flew again aboard Soyuz 1 on April 23, 1967, becoming the first Russian man to make two spaceflights.
Yuri Gagarin and Vladimir Komarov were close.
The Soyuz 1 was described as being “a piece of shit” and a “devil ship” as issues plagued the spacecraft throughout development and failed testing. Yuri had done everything he could to get the launch postponed, including writing a ten-page memo detailing the 203 structural problems he had discovered during inspection of the Soyuz 1. Any person who had laid eyes on the memo would be fired or demoted.
Komarov knew of these issues, but refused to step down from the missions. In March of 1987 he met with Venyamin Russayev, a then-recently-demoted KGB agent who had been assigned to "mind" Yuri Gagarin.
He met with Russayev and said, "I'm not going to make it back from this flight." Russayev asked, “Why not refuse?” Komarov answered: "If I don't make this flight, they'll send the backup pilot instead." That was Yuri Gagarin. Komarov couldn't do that to his friend. "That's Yura. And he'll die instead of me. We've got to take care of him." Komarov then burst into tears.
Yuri, nicknamed Yura by friends and family, showed up on the day of the launch “demanding to be put into a space suit,” "demanding this and this and this...", doing anything and everything he could to be the one on that spacecraft instead of Vladimir. Unfortunately, his attempts were be futile.
Soyuz 1 would launch on April 23, 1967 and faced serious issues throughout the flight. The parachutes failed to deploy during reentry and the spacecraft burned up while Vladimir screamed and cried and cursed out those responsible.
Yuri Gagarin was grounded from future space flights and denied permission to pilot military jets. This was devastating for the already deeply depressed man and everyone knew it. Even his favorite hairdresser said that “Yuri couldn't live without flying. It was his whole life. A man can't live without his trade. He can't survive.”
He eventually convinced them to let him fly, but on March 28, 1968, less than a year since Komarov’s accident, he was tragically killed during a routine-training flight aboard a MiG-15. The cause of the accident is unclear, though many speculate that the accident was an assassination on the cosmonaut as he had a falling out with several high-ranking officials following the death of his close friend.
Both Yuri Gagarin and Vladimir Komarov’s names are featured on the memorial for fallen US Astronauts and USSR Cosmonauts left on the moon by the Apollo 11 crew.
there’s a question to be asked i think about to what extent “getting out” can be conflated with “being saved” in this show, and what freedom actually means to any of these characters.
like you can argue that shiv saved ken by voting against him on gojo, but what if your intent behind saving someone is to inflict a worse punishment than if you’d just left them trapped? can a child weaned on poison survive on milk, or are you just sentencing them to a death by inches, starved of the only thing they know? and if you save someone specifically because you know that being saved is the worst thing that can happen to them, is that kindness or cruelty? at what point does a good thing become a malicious act?
and you can say that roman is finally free, but what exactly is he free from? the company? his father? does unlocking a cage mean saving a dog, or are you allowing him out on the street knowing there’s a kill shelter nearby? if the driving anxiety behind roman is that he’s an idiot and a failure—that he’ll never amount to anything, and trying will only lead to pain—and he’s finally cut loose once all of those anxieties have crystallized into cold hard fact in his mind, what has he actually escaped from? if the cage is in your mind, is it even possible for somebody else to unlock it?
the fundamental truth of a tragedy is that even being saved can be a death sentence, if the characters are incapable of escaping the thing doing them the most harm (themselves and their childhoods)
succession (2018-2023), s4.10, "with open eyes" // s1.06 "which side are you on?"
"I like and respect every one of you, but, uh, no one's gonna have their mind changed in here. Right? So I suggest we move on to the vote."
"Fine. Okay. Vote."