Our series of the week, between fratricidal wars and contemplative western

THE MORNING LIST

Barely finished the Series Mania festival, online updates are accelerating and it will take more than eight days to feast on the heavy program of the week. Between the fratricidal wars of Successionthe new survey of Perry Masonthe contemplative western by Hugo Blick and a new “prequel” by Yellowstonethe basket is more than full.

“Succession”: the last celebrations of the Roys

Since the creator of Succession decided so, let’s start the season of goodbyes. Only ten hours left to spend with the Roy family and, on arrival – this is the only indication Jesse Armstrong gave: “there is a promise in this title “succession” – a new master, a new mistress at the head of what will remain of the Waystar-Royco media empire. We find the despoiled, Kendall (Jeremy Strong), Siobhan (Sarah Snook) and Roman (Kieran Culkin) and the despoiler, Logan Roy (Brian Cox), their father, who preferred to sell the main asset of Waystar-Royco, rather than leave it to his descendants.

The first two episodes seem to continue this war dance which opposes the patriarch to his offspring. As usual, this choreography is embellished with celebrations, starting with Roy’s birthday, which reaches the abyss of sadness. Will follow the wedding of Connor (Alan Ruck), eldest of the Roy children, but from the wrong bed. The prospect of these nuptials, when we remember Kendall’s birthday (season 3, episode 7), announces an acceleration, an intensification that will expel the protagonists from the war of attrition in which they have been bogged down, and bring the series to new heights. T.S.

Sseason 4, series created by Jesse Armstrong, with Brian Cox, Jeremy Strong, Kieran Culkin, Sarah Snook, J. Smith-Cameron, Nicholas Braun. (USA, 2023, 10 x one hour), one episode on Mondays since March 27, Warner Pass via Prime Video.

“The English”: Hugo Blick’s essential western

Among the various recent achievements in terms of westerns, a very fashionable genre on the small screen, The English formulates without doubt the boldest and most successful proposal, both from a formal point of view and in its stimulating subject on the American Indian and immigrant roots of the United States of America. Especially since this western has a woman as its heroine, Cornelia, who has come from the United Kingdom to the Midwest to avenge, she says, the death of her son, about whom nothing will be known until late in the series. Played by Emily Blunt, who finds here a role commensurate with her talent, the foreigner finds an ally of circumstance in the person of a former American army scout of Pawnee origin (Chaske Spencer, magnetic).

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