The Real C.E.O. of “Succession”

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The Real C.E.O. of “Succession”
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The uneasy simultaneity of comedy and drama that “Succession” depends on comes from its creator’s unwillingness to save his characters from themselves. “It is basically like a cat playing with a mouse and not killing it,” one fellow writer said.

.” Armstrong has a rule: an insult “should be at least as expressive of who the character uttering it is as it is eloquent, or ineloquent, about its target.” At one point, Kendall warns Stewy, a onetime school friend turned business rival, “I will come to you at night with a razor blade, and I will cut your fucking dick off”; Stewy airily replies, “And then push it up your cunt until poo-poo pops out of my nose hole.” But the show’s linguistic ingenuity extends well beyond scatology.

In the spring of 1990, Armstrong and a friend took a budget trip to New York City, where they crashed on the couch of some Cooper Union students whom Armstrong had met while backpacking in Europe. “We walked around and had the tops of our heads blown off, just seeing what the city was like,” Armstrong told me. Upon returning home, he matriculated at the University of Manchester, ninety minutes northeast of Oswestry.

At the University of Manchester, Armstrong had become close friends with Sam Bain, a classmate from a creative-writing course. Bain, a privately educated Londoner, told me that he was interested by Armstrong’s quite different background. “He wrote one short story that had a character working on a building site,” Bain said. “It took me a while to realize that it was based on his own experience.” After Armstrong abandoned politics, he and Bain began regularly collaborating on comedy scripts.

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