#Citizen press newspaper find the rabbit upgrade#

Ultimately, Roman weasels his way into the treehouse anyway, where he appears to connect with Matsson. When Roman and Shiv try to enter, Kendall personally blocks them, saying, “The treehouse is cool and you’re not cool.” He calls his siblings Nazi-lovers while he is “a defender of liberal democracy.” As his brother and sister argue that landing GoJo could raise the family’s net worth, Kendall replies, “I have to weigh that against the consideration that no losers are allowed.” Kendall has Matsson - whom he calls “the Odin of codin’” - stashed away in his treehouse, where any illicit thing he needs is supplied by Kendall’s own “one-man dark web.” (“He’s not a good guy,” Kendall says to Matsson about his drug dealer.

#Citizen press newspaper find the rabbit upgrade#

Waystar needs to upgrade its streaming platform by partnering with the tech company GoJo, run by the mercurial Lukas Matsson (Alexander Skarsgard), who earlier that day skipped a meeting with Logan and sent his underlings. But then he learns the real reason Shiv and Roman are there. When Roman, Shiv and Connor first show up at Kendall’s party, he seems genuinely happy, giving them hugs that appear to be heartfelt. Kendall’s pettiness is, to some extent, justified. And here is Kendall, standing in front of a literal treehouse, built in the middle of his party, telling his siblings they can’t come in. This week, all the Roy kids reunite to fight about whom their dad wants to be in charge.

I don’t know if credit for the treehouse goes to one of these people or to the series’s creator, Jesse Armstrong, or to someone else but it is a conceptual masterstroke. This episode is credited to the screenwriters Tony Roche and Georgia Pritchett, with Lorene Scafaria in the director’s chair. There is a room flanked by video screens depicting a raging fire, which appear in the episode right as Kendall receives his “birthday present” from Logan and Roman: a sentiment-free greeting card and a term-sheet listing the amount Waystar is willing to pay him to leave the company forever. (To be fair, Tom thinks he “took the wrong drugs in the wrong order.”) This hilariously flusters Tom, who came to this party to cut loose but ends up finding Kendall’s flourishes irritating. There is a “compliment tunnel” filled with lush greenery and actors saying nice things about anyone who enters. (Connor, who is now up to 1 percent in the Republican presidential polling, is livid at this little joke. Yes, you can take it home with you.”)īehind a curtain inside, there is a room containing giant-size mock-ups of newspaper front pages, predicting pathetic futures for Kendall’s family. Seems to check out.” Kendall, hearing his younger brother’s concerns about the tastefulness of this display, says: “Roman, relax. Once they enter, they pass video-screens showing wriggling sperm before heading through a passageway made up of pink, pillowy folds, leading to a coat-check room where a greeter in a nurse uniform says, “You’ve just been born into the world of Kendall Roy.” (Shiv, looking back at what is clearly meant to symbolize her mother’s birth canal, says: “Cold and inhospitable. Here are just a few of the attractions awaiting those guests:Īs they walk in, they are greeted by a big sign above the door, reading “The Notorious KEN Ready to Die.” If a guest considers some piece of design to be over the top, Kendall can always say, “But it’s funny, right?”

A lot of the décor is meant to straddle the line between amusingly ironic and cockily sincere.

Nearly every set reflects some aspect of Kendall Roy - whether he intends it to or not. But most of all, it is a triumph of production design. “Too Much Birthday” is an often very funny episode, which curdles into devastating drama by the end. They’re a grand illustration of the whole concept of “hubris.” Moments like these are equal parts awkward and reckless. In the case of the event Shiv calls “KenFest,” the party is like an endless version of that scene in “Citizen Kane” in which the brash young media magnate Charles Foster Kane dances and sings along to a jaunty pop song about himself. In nearly all these docs, there’s a scene like Kendall’s 40th birthday party in this week’s episode of “Succession” - some preposterously lavish and borderline cultish shindig, celebrating a business culture about to collapse under its founding genius. The streaming services have been cluttered lately with “anatomy of a failure” documentaries, which detail the downfall of formerly white-hot companies like WeWork and LuLaRoe. (Check out a recap of the latest episode in Season 3 of Succession ) Season 3, Episode 7: ‘Too Much Birthday’