yacht used in succession

Solandge, the yacht used in Succession, costs $1million a week to hire

In last night’s Succession Season 2 finale on HBO, the Roy family and their top Waystar-Royco aides spent time onboard Logan Roy’s luxurious Mediterranean yacht, ostensibly on a brief cruise vacation. However, the Mediterranean cruise was actually intended to give Logan (Brian Cox) the opportunity to take time off to decide who should take the fall to save Waystar-Royco’s tarnished reputation following the company’s mismanagement scandal, and a congressional hearing on the matter.

Logan finally decided that his troubled son Kendall (Jeremy Strong) would be the “blood sacrifice” to save the company.

If you saw last night’s season finale and wondered about the luxurious yacht that provided the setting for the episode, here is everything you need to know about it.

The superyacht in tonight’s episode of Succession Sign up for our newsletter! Get updates on the latest posts and more from Monsters and Critics straight to your inbox. By submitting your information you agree to our T&Cs and Privacy Policy. Length: 85.1 meters Crew: 29 Cost: 1,000,000 euros to rent per week https://t.co/jaPEubbK6m — Dan Diamond (@ddiamond) October 14, 2019

@Succession_HBO is that M/Y Solandge? Used in S2E10? Nice. — Daniel B Nash Sr (@DanielBNashSr1) October 14, 2019

Solandge was the yacht used in the Succession Season 2 finale

The yacht used in last night’s episode of Succession was the famous 85.1-meter Lürssen motor yacht Solandge . Solandge is one of the world’s largest and most iconic luxurious motor superyachts available for charter.

The weekly summer and winter charter price for a Mediterranean cruise is listed as being from €1,000,000 ( currently about $1,102, 642 plus expenses ).

Solandge was first listed for sale in 2015 at an asking price of €179 million. It was finally sold in a deal brokered by the luxury yacht brokerage firm Moran Yacht & Ship in 2017. The deal, said to be the biggest yacht deal of the year in 2017, was reportedly worth €155,000,000.

Solandge was built by Lürssen in 2013. The luxurious granite, marble and wood interior of the yacht was jointly designed by Rodriguez Interiors and Dolker & Voges. The exterior was designed by Espen Øino ( Espen Oeino).

The yacht is able to sleep 12-16 guests in eight large staterooms. It is also able to accommodate a large gathering of overnight party guests in en-suite cabins. Facilities include a sauna, steam room, massage room, beauty salon, gym, sun deck, outdoor swimming pool, dance floor, bar, outdoor cinema, and nightclub.

The boat has a cruising speed of 15 knots and a top speed of 17 knots.

Solange won the Monaco Yacht Club’s La Belle Classe Superyachts award at the 2014 Monaco Yacht Show.

You, Too, Can Charter the ‘Succession’ Yacht…for $1.1 Million a Week

Who owns the ‘Succession’ yacht? Learn more about the ‘Solandge,’ the 279-foot boat the Roy family boarded in the HBO drama’s second season.

Oct. 15 2021, Published 11:29 a.m. ET

Who owns the Succession yacht? Certainly not Succession star Sarah Snook , who told Page Six on Oct. 12, that she has no interest in such an expense. “You own a boat like that, you’ve got to maintain a boat like that,” said Snook, who plays Shiv Roy on the show. “It’s like $12 mil a year or something like that to maintain. Who wants to spend money on that?…Give the money away; no one needs that much money. There’s a ceiling where money makes you happy, and beyond that, it’s just greed.”

Of course, you don’t have to own the 279-foot yacht featured in the HBO drama ’s second season to enjoy its amenities. You can also charter the luxurious vessel , but you’d still need deep pockets.

Who owns the ‘Succession’ yacht?

The Solandge found a new owner in March 2017, after being listed for sale with Moran Yacht & Ship for 155,000,000 euros (about $180 million). However, the identity of the buyer hasn't been revealed.

Actress J. Smith-Cameron, who plays Gerri Kellman on Succession , discussed the boat with BuzzFeed News in Oct. 2019. “I think it’s a Saudi-owned superyacht . I believe the word ‘Solandge’ is made up of the letters of the kids’ and cousins’ names. I think somebody told me that. It may or may not be true. But it seemed like a good choice because it seemed like a parallel universe for the Roy family.”

BOAT International reported that the Solandge sale was the biggest brokerage deal of 2017 at the time. “We would like to take this opportunity to congratulate her new owner and thank her former owner for recognizing our expertise in selling large quality yachts and entrusting us with the sale of Solandge ,” Moran said upon the sale.

How do you rent the ‘Succession’ yacht?

The Solandge is available for charter through Moran Yacht & Ship, but it will set you back. You can charter the vessel for a summer week in the Mediterranean or a winter week in the Caribbean and the Bahamas, but both charters cost 1,000,000 euros per week, or about $1.16 million.

Moran touts that the Solandge is “one of the finest vessels currently available for charter and is one of the world’s largest and most iconic yachts.” The yacht sleeps 12 guests in eight state rooms, with a private owner’s deck and suite. A crew of 29, meanwhile, sleeps in 15 crew cabins. Built in 2013, the Solandge won the "La Belle Classe Superyachts" award from the Monaco Yacht Club at the 2014 Monaco Yacht Show, and the award for the best exterior at the Monaco Yacht Show Awards.

The Solandge ’s top deck features an outdoor cinema and a nightclub, the main deck features an indoor-outdoor gym, and the lower deck features a dive center, a tender garage, and a sauna. The saloon interior, designed by Aileen Rodriguez, boasts a floor-to-ceiling panel of backlit amethyst quartz, a large bar of amethyst-and-honey onyx, and a dining table under an amethyst-and-rose-quartz chandelier. And don’t forget about the onboard beauty salon, swimming pool, jacuzzi, and helipad!

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What Yacht Was Used in Succession? (The Answer Here)

When it comes to the world of luxury, few elements are as iconic as a yacht.

This is certainly true of the hit show Succession, where a powerful family’s yacht is featured in a number of episodes.

But what yacht was used in the show? In this article, we will uncover the answer as well as explore the yacht’s specifications, its role in the show, and its symbolism.

Get ready to set sail on a journey of opulence and extravagance as we discover the yacht used in Succession!.

Table of Contents

Short Answer

The yacht most recently used by the royal family is the Leander, a custom-built 90m vessel built in the Netherlands.

Prior to that, the Royal Family had a yacht named Britannia, which was decommissioned in 1997.

Before Britannia, they had a yacht named Victoria and Albert, which was built in 1843.

Finally, the first royal yacht was called Mary, and was commissioned in 1660.

The Show Succession

Succession is an award-winning HBO show that follows the lives of the Roy family, one of the worlds most powerful media conglomerates.

The show focuses on the power struggles within the family and how they use their wealth and influence to get what they want.

As part of the shows plot, the family owns a luxurious 230-foot-long Feadship yacht that is featured throughout the series.

The yacht is used for a variety of activities, from family outings to business meetings, and it is a symbol of the Roy familys wealth and power.

The yacht is equipped with five decks and a total of 10,000 square feet of space, and it features a jacuzzi, a gym, a cinema, a spa, and other amenities.

It is also equipped with a helipad and a tender, allowing guests to explore the waters around them.

The yacht is the perfect embodiment of the familys wealth and power.

The Roy Family Yacht

The Roy family yacht featured on HBOs critically acclaimed show Succession is a 230-foot-long Feadship, truly an impressive sight to behold.

With a total of 10,000 square feet of space, the yacht features five decks and an array of amenities to make it the perfect getaway for the powerful Roy family.

These amenities include a jacuzzi, gym, cinema, and spa, making the yacht an ideal place to relax and escape from the hustle and bustle of everyday life.

For those looking to explore the waters around them, the yacht is also equipped with a helipad and tender, allowing for easy transport between the yacht and shore.

The yacht’s impressive size and wealth of amenities make it a perfect symbol of the Roy family’s wealth and power.

After all, when you own a yacht of this caliber, you know you’ve made it to the top.

The yacht has been used for a variety of activities, from family outings to business meetings, showing that the Roy family can use their power to get whatever they want.

It is easy to see why the yacht is so integral to the show.

Not only does it provide a stunning backdrop to the show’s drama, but it also serves as a reminder of the Roy family’s immense wealth and power.

It is a physical manifestation of their success, and a reminder that they are not to be trifled with.

The Yacht’s Specifications

The yacht used in the highly acclaimed HBO show Succession is a 230-foot-long Feadship.

This luxurious yacht is fit for a king, featuring five decks and 10,000 square feet of living space.

From its jacuzzi to its gym and spa, this yacht has all the amenities a wealthy family like the Roys could ask for.

It also features a helipad and a tender, giving its passengers the ability to explore the waters around them.

With its impressive size and opulent features, the yacht is the perfect symbol of the Roy family’s wealth and power.

It’s a reminder that when the Roys want something, they get it.

Whether it’s for a family outing or a business meeting, the Roys can count on their yacht to provide them with all the luxury and convenience they need.

The Luxury Amenities

When it comes to luxury amenities, the yacht featured in Succession really takes the cake! From the sprawling 10,000 square feet of space, to the five decks, the yacht is a spectacle of wealth and power.

On board, youll find a jacuzzi, a gym, a spa, a cinema, and a helipad.

The yacht also comes with a tender, allowing you to explore the waters around you.

The jacuzzi is the perfect spot to relax and take in the stunning views of the surrounding waters.

The gym is well-equipped and offers a variety of machines and equipment to keep you in shape.

The spa features a sauna and steam room, providing the ultimate relaxation experience.

The cinema is the perfect spot to watch movies or TV shows and enjoy a night in.

Finally, the helipad is the perfect way to travel in style, allowing you to take in the sights of the city from the air.

The yacht is the perfect example of the Roy family’s wealth and power, and their ability to get what they want.

With its luxurious amenities, it’s easy to see why the yacht is such a coveted possession.

Whether you’re looking to relax and take in the views, or have a business meeting, the yacht is the perfect spot.

The Yacht’s Role in the Show

In Succession, the luxurious yacht is an important part of the show and serves as a symbol of the Roy family’s wealth and power.

It is used for a variety of activities, from family outings and business meetings to parties and vacations.

The yacht is a 230-foot-long Feadship with five decks and a total of 10,000 square feet of space.

It features a variety of amenities, including a jacuzzi, a gym, a cinema, a spa, and other luxuries.

The yacht is also equipped with a helipad and a tender, allowing guests to explore the waters around them.

The yacht is a major source of drama in the show, as the Roy family often uses it as a way to escape the hustle and bustle of their lives on land.

It is also used as a venue for important business meetings, and is the perfect place for the family to celebrate special occasions and reflect on their successes.

In particular, the yacht is a focal point of the show’s finale, as it serves as the backdrop for a climactic showdown between the Roy family members.

The yacht also serves as a reminder of the Roy family’s wealth and power, and of their ability to get what they want.

As the viewers watch the family use the yacht for a variety of activities, it becomes clear that their wealth and power are immense.

This serves to both highlight the Roy family’s privilege and to remind viewers of the disparities between the wealthy and the less privileged.

Overall, the yacht in Succession is an important symbol of the Roy family’s wealth and power.

It is used for a variety of activities, from family outings to business meetings, and serves as a reminder of their immense privilege.

The yacht is also a major source of drama in the show, as it serves as the backdrop for some of the series’ most important moments.

As viewers watch the Roy family use the yacht, they are reminded of the disparities between the wealthy and the less privileged.

The Symbolism of the Yacht

The yacht featured in Succession is more than just a symbol of the Roy family’s wealth and power, it is a representation of their lifestyle.

As one of the world’s largest media conglomerates, the Roy family is accustomed to a life of luxury and extravagance, and the yacht is no exception.

Not only does it provide them with a luxurious place to entertain and relax, but it also gives them access to some of the most beautiful spots in the world.

As a prestigious symbol of their success, the yacht also serves to remind viewers of the Roys’ power and influence.

It is a reminder that, no matter how difficult their personal and professional lives become, they will always have the resources to get what they want.

The yacht also serves a practical purpose in the show.

It allows the Roy family to travel in style and comfort, while also providing them with a secure place to conduct business.

The yacht’s five decks and 10,000 square feet of space make it perfect for hosting business meetings and social gatherings.

It also has a jacuzzi, gym, spa, and cinema, giving the Roys the opportunity to relax and unwind after a long day.

Finally, the yacht’s helipad and tender allow guests to explore the waters around them, giving them the opportunity to experience the beauty of the ocean firsthand.

Overall, the yacht used in Succession is a powerful symbol of the Roy family’s wealth and influence.

Not only does it provide them with a luxurious place to entertain and relax, but it also serves as a reminder of their power and ability to get what they want.

It is a perfect representation of their lifestyle and a practical way for them to travel in style and comfort.

The Real Life Yacht

When it comes to luxury yachts, the Roy family has it all.

In the critically acclaimed HBO series Succession, the Roy family owns a stunning 230-foot-long Feadship with five decks and a total of 10,000 square feet of space.

This luxurious yacht features all the bells and whistles one would expect from a super yacht a jacuzzi, a gym, a cinema, a spa, a helipad and a tender, perfect for exploring the waters around them.

The Feadship is no ordinary yacht.

It is a magnificent piece of engineering and design, built to the highest standards of quality and luxury.

The yacht’s interior was designed with the utmost attention to detail, with handcrafted furniture, beautiful fabrics, and custom lighting.

Its exterior is just as impressive, with sleek lines and an elegant profile.

The Feadship is a perfect symbol of the Roy family’s wealth and power.

They have the luxury to get what they want, and the yacht is a testament to that.

It is an expression of their success and an embodiment of their lifestyle.

This luxurious yacht is no stranger to the limelight.

It has been featured in numerous movies, television shows, and magazine articles, and has become a symbol of success and power.

So, the next time you find yourself dreaming of a luxurious lifestyle, just remember that the yacht used in Succession is the perfect symbol of what that lifestyle could be.

Final Thoughts

The Roy family’s luxurious yacht serves as a perfect symbol of their wealth and power in Succession.

From its five decks to its 10,000 square feet of space, the 230-foot-long Feadship is a stunning example of luxury and extravagance.

With its helipad and tender, it is the ideal vessel for the Roy family to explore the world around them.

With this knowledge, viewers of Succession can appreciate the yacht in a new way, and gain a better understanding of the Roy family’s wealth and power.

James Frami

At the age of 15, he and four other friends from his neighborhood constructed their first boat. He has been sailing for almost 30 years and has a wealth of knowledge that he wants to share with others.

You Too Can Charter the Yacht on Succession

The fourth, and final, season of HBO’s Succession has just started, and it picks up where season three ended, with some of the most crucial scenes taking place on a 279-foot megayacht cruising in the Adriatic not far from Dubrovnik, Croatia.

At that time, the fictional Roy family, owners of the media giant Waystar (if you don’t think of Fox and Rupert Murdoch you’re not paying attention) have gathered for a critical business meeting. The first evening on board, Logan, the patriarch, announces that he will have to fire one of them (or another leader of the company) to satisfy his investors and troublesome Congressional investigators.

The yacht, Solandge , a $174 million Lürssen launched in 2013, is a perfect setting for a corporate beheading. Indeed, Mark Mylod, the show’s director, said it was “the ultimate gilded cage to trap these characters in” with the metaphor of throwing one of them overboard.

Solandge , as it turns out, is close to gilded; the interior does not include gold, but it does include 49 different marble and granite surfaces, and 30 types of wood. It holds 12 guests in eight cabins plus 29 crew in 15 cabins. Its six decks include a private owner’s deck, where the bulwarks have been lowered so they don’t interfere with the view from the bed.

Elsewhere, Solandge has a helipad, a dance floor with a DJ setup on the upper deck, a Jacuzzi, a fully stocked wine cellar, spa, massage room, elevator, and what Moran, which charters it, calls “a number of bars, buffet areas and even a large swimming pool.”

The toys include diving equipment, three Yamaha WaveRunners, wakeboards, kayaks and four tenders, including a 36-foot Fjord.

Solandge is powered by two 2,660-hp CATs. It cruises at 15 knots, tops out at 18 knots, and has a range of 6,000 nm.

You don’t have to own a media company to charter Solandge , but owning something would help. It charters for 1 million Euros plus expenses a week, winter and summer, adding up to a total of $1,166,472, roughly. Read more at https://www.moranyachts.com/luxury-yachts/solandge-3/?yacht-type=luxury-yachts-charter and see the video below:

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Behind the scenes of HBO hit 'Succession': How set designer Stephen H. Carter used a $145 million Hamptons mansion and a yacht in Croatia to bring the billionaire characters' lifestyle to the screen

HBO's hit show "Succession" follows the billionaire Roy family through an internal battle for power over their aging father's media conglomerate.
From castles to glistening yachts, viewers are treated to sweeping sets befitting this billionaire lifestyle.
Business Insider caught up with Stephen H. Carter, the show's production designer, to find out how he put the show's look together.
Visit Business Insider's homepage for more stories .

Season one of HBO hit show Succession chronicled the billionaire Roy family's internal battle for power over their aging father's media conglomerate, Waystar Royco. While the season took viewers through multiple grandiose sets, the Roys' world centered on Logan's apartment on NYC's so-called Millionaires Row.

The pilot pulled together several locations for the home, including the Harold Pratt House and the Irish-American Historical Society in NYC. After that, production designer Stephen H. Carter built a permanent replica on set.

Carter made subtle tweaks, though, like improving the floor plan so camerawork was easier. He also nixed some of the pricier details, like the library — only briefly glimpsed in episode one, it was easy to elide.

As the show's cachet snowballed via multiple Emmy nominations, "Succession's" budgets expanded. So, too, did its onscreen horizons — and Carter was tasked with sending the Roys and their acolytes out into the world.

The most valuable material on this set was foam

In season two, episode three, "Hunting," several members of the Roy family and the company's executives embark on a hunting trip in Hungary.

The scene, though, was shot much closer to HBO's New York City headquarters — out on Long Island, at Oheka Castle , one of America's biggest private homes. Built by Robber Baron-era investment banker Otto Kahn, it incorporates a strange safeguard: After a previous mansion burned to the ground, Kahn insisted it be made of concrete to ensure it was fireproof.

That chilly brutalism is unlike any other property on the East End, but redolent of Eastern European estates. It also posed an intriguing problem for Carter.

Logan Roy's inner child? Think Austin Powers.

Another new location for season two: the so-called Summer Palace, Logan's weekend retreat.

It's another 20,000-square-foot mega mansion, most recently listed for sale at $145 million in 2019, but this one wasn't built in the Gilded Age. Instead, it was constructed in 1960 for Henry Ford II, grandson of the car magnate. Carter kitted it out with a shagadelic lushness.

"I figured when Royco would have been consolidated with Waystar, that's when Logan would feel like he had made it, and that would have been the late 60s and early 70s. Until then, he would have been maneuvering, a young man going to parties, trying to figure out who his first wife would be. That's the point that things are most indelible on you," he explained of how Logan's taste was shaped. "So we made the décor here trying to be sort of classy, I guess, but within what would have been considered modern and practical in the late 1960s."

Boats and planes were the big addition to season two

After a yacht was nixed from season one's sets, Carter said he was thrilled to find both a plane and a boat on the call sheet for season two.

It was no G5 for Logan Roy, though, but a customized 737 that was recreated on a soundstage. The dividers between the cabins were a deliberate move on Carter's part to maximize the characters' opportunities for eavesdropping on each other.

As part of his research, he also toured the workshops of a firm that specializes in jet interiors. Carter was staggered to see one hallway filled with bolts of fabric, including one that resembled mylar — but was actually woven gold alloy.

"The bolts weren't for new projects, but leftovers," he said. "The company kept getting calls to come in and relay carpets or reupholster seats after someone spilled red wine."

Scouting locations on the high seas

The team wanted to hire a boat that it could set-dress for the show. Unfortunately, per Carter, that posed a challenge specific to the superyacht world.

"We spent a lot of time looking at boats, but when we'd see one with a great look, we would keep finding out it was owned by someone whose money was covered in blood — so we couldn't do business with them for ethical reasons," Carter said.

Eventually, in Cannes, they found one that checked both ethical and aesthetic boxes — at least on the outside. The interior, though, was distractingly glitzy.

Carter shipped some unlikely items, like huge pieces of heavy Japanese paper, to Dubrovnik, Croatia, where they would be shooting. He used them to hide the walls of the entry passage, which were translucent, backlit purple stone.

"A little disco bling to me," he laughed of the yacht's original look. "That certainly wasn't very Marcia and Logan." Groovy, baby.

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Succession Recap: Heavily Fuckin’ Delayed

The title Succession has been a tease, if not a running joke, from the very beginning of the series — like Game of Thrones as a devilishly sadistic round of musical chairs. Which one of Logan Roy’s three relevant children will take over his media empire after he dies? (Or will Cousin Greg bumble his way to the top like Dennis Price killing off the eight Alec Guinnesses between him and the Duke D’Ascoyne in Kind Hearts and Coronets ?) That’s the question that obsesses Kendall, Shiv, and Roman enough to drive the rivalry between them. And it’s what we’ve been asking, too, reasonably expecting an answer by the end of this fourth and final season. But now, even though we’ll discover — in the short- and long-term — who will take over Waystar Royco, Logan won’t be the person making that decision. What’s more, he probably decided years before the show’s opening scene that none of his idiot children were suitable for the job. It’s just the big, fat carrot he dangled at the end of the stick.

He probably also assumed, like everyone does, that he would live forever. Throughout the series, Logan survived multiple health scares, from that first hemorrhagic stroke on his helicopter to the UTI that affected his cognitive function to the heat exhaustion he suffered on Josh Aaronson’s Long Island estate. He also survived multiple attacks from inside and outside the business, including at least three involving Kendall — the failed “ no confidence” vote , the cruise scandal that briefly exiled him to Balkan airfields , and the kids’ attempt to sabotage the GoJo deal in last season’s finale — and hostile moves by Sandy and Stewy. All the while, he never had an actual plan for succession unless you’re inclined to believe that his family and his inner circle (Gerri, Carl, and Frank, basically) were perpetually auditioning for the job. Now he’s gone, leaving a power vacuum akin to someone popping open the capsule hatch in deep space.

The staging of Logan’s death is brilliant. He goes out without a big speech, surrounded by sycophants, not loved ones. The combined forces of “the best heart doctor in the world” and “the best airplane doctor in the world” could have never affected the outcome. He’d been teetering on the precipice of death for a long time — and surely had the resources to cheat it longer than a normal person — and it finally came for him as it comes for us all. And so we get the sad, surreal spectacle of the Roy children, gathered together on a yacht for Connor’s wedding, dealing with this crisis on the end of a bad cell phone connection, confused and utterly helpless, each taking turns improvising their last words to him.

And so the tortured relationship between a father and his children ends appropriately, with Kendall, Shiv, and Roman speaking into the ear of a man who isn’t listening. It’s a heartbreaking spectacle, even if you’re disinclined to feel much sympathy for the Roys, who use their media empire to pump familial toxins into the national bloodstream. The fact that Logan’s kids are still so terminally immature — even the profanity evokes adolescents who are abusing new verbal weapons — makes it all the more touching because they react as children would, with a raw, unprocessed neediness. Nobody on the plane wants to tell them they’re talking to a dead man, so there’s some confusion over the endless “heart compressions” that might bring him back to life. But it’s safe to assume that Logan is never conscious from the moment the call to the kids is placed.

The entire cast is up to the task, but Kieran Culkin is particularly devastating as Roman, whose recent realignment with his dad suggested a vulnerability that’s every bit as deep as Kendall’s but expressed through attachment rather than rebellion. And for all the back-and-forth about Brian Cox and Jeremy Strong’s conflicting approaches to the thespian craft , Culkin has quietly turned Roman into James Dean in East of Eden type, adding layers of melancholy and self-loathing to the expected arsenal of nasty put-downs and “ quirky sits .” Roman’s denial is the strongest of anyone in the group — he won’t believe his dad has died until he literally steps onto the plane and sees for himself — but the moment that really stabs at the heart is his assurances over the phone. “You’re a good dad,” he says to a corpse. “You’re a very good dad. You did a good job.”

The implications of Logan’s death are so immense that they’re almost impossible to comprehend, which is the genius of detonating this dramatic bomb when it will produce the most chaos. The GoJo deal will be, in Karl’s words, “heavily fucking delayed,” if it happens at all. Logan’s related “night of the long knives” isn’t happening, either, despite Roman moving excruciatingly forward with his plans to fire Gerri. The remaking of ATN under Logan’s supervision is also stalled, which means that Cyd, another woman executive he intended to can, and Tom can resume their mutual cattiness for now. Logan doesn’t appear to have drafted any plans for the company in the event of his death, and so the free-for-all commences before his body has even gone cold.

In a simple, brilliant plotting device, series creator Jesse Armstrong, who co-wrote this episode, expresses all this immediate dysfunction with the drafting of a statement announcing Logan’s death. As head of public relations, Karolina thinks clearly enough to realize that the company needs to get ahead of the news and control the fallout. The kids are initially too freaked out to understand what needs to be done — Calm the markets?! At a time like this?! — but circumstances have neatly divided everyone into two separate parties: The plane people and the kids. The plane people are Tom and the three executives (Karl, Frank, and Karolina), who can actually run the day-to-day competently while the kids, with Hugo as their liaison, have to scramble to make sure their voices are included — their futures depend on it.

The kids ultimately do have a hand in giving the statement to the press, with Shiv reading off the PR-massaged boilerplate (“Logan Roy built a great American family company…” and “This nation lost a passionate champion,” etc.) for the scrum of cameras. In the remaining episodes, she and her siblings will have to fight hard for a piece of a “family company” that their dad did not bequeath to them or anyone else, as far as we can tell. One thing’s for certain: The market is not calmed. There’s a seismic dip in the stock price as news circulates, reflecting the investors’ (correct) understanding that Waystar Royco was a one-man operation.

“There he is,” says Roman at a graph that descends like a flatlining heartbeat. “That is Dad.”

Sad-Sack Wasp Traps

• Hard to overstate how badly Logan’s death weakens Tom’s position, and he knows it. He’s lost his “protector,” the man who rewarded his loyalty by giving him the ATN job that made Syd redundant and expendable and by helping him freeze his daughter out of access to the city’s best divorce lawyers. The news isn’t good for Greg, either, though both of the Disgusting Brothers have proven to be survivors in the past.

• Connor and Willa going through with the wedding anyway is a lovely touch and further evidence that Connor’s disconnection from the rest of the family serves him well on occasion. Those two stand a good chance of having the healthiest love relationship in the series.

• Tom and Greg are a buddy team that cannot be broken up, but Tom still likes to dangle Greg over the balcony whenever possible, like when he talks about the three or four “Greglets” doing things for him while the real Greg is not available.

• Roman’s attempted firing of Gerri goes about as well as Greg trying to let Kerry down easy over her lousy audition tape. “I danced us through a fucking thunderstorm without us getting wet,” she says in response to his wan declaration that Logan was unhappy about the company’s DOJ dealings. Past weird intimacies aside, Gerri has been sharp with Roman when it matters.

• “I do not want to see the internal qualities.” — Connor, upending the cutting-the-cake part of the traditional wedding reception.

• Roman on news that his dad’s heart and breathing have stopped “for a while”: “But that doesn’t mean that he’s dead, medically.”

• Incredible Tom line in reference to Kerry, the queen of inappropriate smiles, flashing one on the plane: “It looks like she caught a foul ball at Yankee Stadium.”

• A wedding day exchange between Connor and Willa: “Are you just with me for money, Willa?” “There is something about money and safety here, yeah. I’m happy. I’m not going to walk. Not today, anyway.” Of the three catastrophic weddings on the show—preceded by Tom and Shiv’s and Lady Caroline and Peter Munion’s — theirs is by far the most romantic.

• Kendall: “We’ll get a funeral off the rack. We can do Reagan with tweaks.”

• It’s a brief shot, but the look on Colin’s face is like a dog without its master.

For more, join us for Succession Club , our subscriber-exclusive newsletter obsessively chronicling all the biggest twists of the final season. Existing subscribers can visit this page to sign up. If you’re not a subscriber yet, click here to get started .

Scott Tobias will be answering comments in this very recap of Succession episode three. He’ll monitoring the comments for next 48 hours after the post publishes and respond to questions about the episode. Join the conversation in the comments!

This article has been updated to correct an error.

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How ‘Succession’ Trapped the Roy Family in a ‘VIP Room’ of Grief in Episode 3

Sarah shachat, associate craft editor.

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It feels weird to spoiler warn something “ Succession ” has built towards and hinted at since the pilot. But spoilers abound!

Death comes for us all, even for Logan Roy ( Brian Cox ). The inescapability of that truth, as much as any tears, denial, guilt, and/or panic, is what makes Episode 3, “Connor’s Wedding,” so affecting. The rhythm of the edit and, as director Mark Mylod put it, the “sadism” of the camera reinforces that reality, refusing to let the Roys beg, browbeat, or weasel their way past the one force even Logan couldn’t cow: time.

Mylod and cinematographer Patrick Capone hammer home the helplessness of this moment and the illogical gravity of grief by delivering maybe the fullest version of the visual and dramatic approach that has made “ Succession ” so remarkable. They, veteran camera operators Gregor Tavenner and Ethan Borsuk, and the shows’ actors stress-tested the series’ preference for shooting as freshly as possible with as long a take as possible. The limit for takes on “Succession” is usually about 10 minutes, as the show shoots with film that must be reloaded once the reel is used up. But for the sequence where the siblings learn that Logan died en route to Sweden (putting business over family until the very end), Mylod and the actors wanted to cover about 30 pages of material in one go.

“That felt like it really needed to be an unbroken take, an unflinching take,” Mylod told IndieWire. “Normally, if there’s a [dramatic] moment, we explore it fully and even go beyond it, so having to artificially say, ‘OK, we have to cut there because the camera’s run out,’ felt just a little less than satisfying, even though the work that the actors and everybody was doing was fantastic. Patrick Capone, my brilliant friend and DP, was the key to it. The camera team basically worked out a way where they could have the two camera operators hide a bunch of film magazines around the set all over the place. Perhaps even a third camera body to pick up at some point. And [we just went] for it [and] I’m so glad we did. I’m really proud of that take.”

The Roy siblings embracing each other in Episode 3 of Season 4 of

The show’s two cameras dance around the actors, exposing how small Kendall (Jeremy Strong), Shiv ( Sarah Snook ), and Roman (Kieran Culkin) are by moving through the scene with them and reacting like an unseen person in the room who is turning to us and oh-so-quietly whispering, “What the fuck?” For this massive 30-minute take, a third camera was added so that as one camera did a quick reload, at least one operator was always following the siblings wherever they went and however they navigated the multiple decks of the ship to find somewhere less exposed to process the shock of losing their father.

But one of the great joys of “Succession” has always been that the trappings of wealth do not necessarily afford the Roys any dignity. Setting Connor’s (Alan Ruck) wedding aboard a yacht in the New York harbor, underneath a bright and beautiful blue sky, played a key part in how Mylod and Capone use composition to create the feeling of sudden, isolating grief. “The positioning of the boat with the stern facing out into New York Harbor was to me a lovely visual contradiction,” Mylod said.

“On the one hand, you have all the freedom of the water and the harbor and the great adventure of New York City out beyond. But at the same time, these characters are trapped in this little glass cage, in this VIP room, trapped in their grief and in their frustration of not being able to get the knowledge or comfort they seek. That, to me, was the perfect visual juxtaposition. And so when Kendall finally goes up onto the deck, that’s the first time you can properly breathe,” Mylod said.

Succession Season 4 Episode 3 Jeremy Strong Sarah Snook

But one of the ingenious things about the episode is that the visuals don’t draw attention to themselves as technical feats. In fact, the show deliberately diffuses most of the bravura camera moves with quick cut-ins so that nothing feels like a “Oner” with a Capital O, and so the perspective of the camera never distracts from the emotion of the sequence.

“One of the things I’m most proud of in the whole way that we’ve evolved this way of shooting is this dance that’s evolved between the camera operators and the actors over the years,” Mylod said. “We’ve tried to evolve this idea of the camera, and therefore by extension the viewer and sometimes the characters themselves, barely keeping up with events. The whole way in which we try to manifest [this approach] is that we rarely rehearse, and we never rehearse with cameras. We throw the actors and the camera operators together into a space, with sometimes very little guidance from me. They’ve just learned to anticipate one another – I don’t know of any other show that does that in quite the same way – and I’m really proud of it.”

The frisson of the actor and camera scrambling for perspective and control is beautifully, heartbreakingly counterbalanced in Logan’s death scene by cutting back to the scene onboard the airplane. The episode uses each new shot of Tom (Matthew MacFadyen) on the plane as a kind of punctuation mark that only feeds the desperation and denial on the boat.

Roman, Shiv, and Kendall Roy in a private room on a yacht in Episode 3 of Season 4 of

“The biggest single dilemma, for me anyway, was the aircraft side of [Logan’s death sequence] initially. Particularly during that 30-page section, a lot of that was supposed to be played off in that you’d hear Tom on the phone, obviously, and that was Matthew live [on the call] each time. But you wouldn’t necessarily cut to the aircraft much, if at all, during that section. But we thought we’d shoot it anyway, and Matthew and the rest of the cast on the plane were so damn compelling. It was really hard to get the balance between intercutting the boat and the aircraft at that point in the story,” Mylod said. “We ended up cutting to Matthew’s side of the call a lot more than we originally intended because he was so good.”

The other moment in the episode that was both planned and surprising was the final shot: Kendall alone on the tarmac after his father’s body is taken off the plane. That was always the final moment of the script, but Mylod didn’t call cut. “We let the moment play on. And actually, you know, in certain takes, Jeremy’s character broke down completely, emotionally. One of the takes, one of my favorites, was a continuation of the one we actually used. The moon happened to be rising very beautifully behind him.”

In that unused take, Mylod let the camera roll past Kendall getting into his car, the ambulance driving away, the police cars leaving, and the press trudging away on the other side of the fence. Mylod held on a very “lone and level sands” composition of just the plane sitting on the runway. “There was that lovely kind of emptying of the stage, you know. The play is over, and all the players exiting. That was really beautiful and very emotional for me,” Mylod said. “It would’ve been beautiful, and Nicholas Britell would’ve scored the hell out of it. But the right moment was [the one in the episode]. It’s the zenith, all the complications and contradictions going through Kendall’s head, seeing his father’s body there.”

Nothing better encapsulates the visual sensibility of “Succession” than that preference for finding landscapes that betray the characters’ ambitions, making them look small, showing them at that peak moment when their emotions leak through, and then cutting away. Much like Logan himself, the show’s cameras always put business over pleasure.

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Succession Season 2 Finale Recap: Who Did Logan Throw Overboard?

Click here to read the full article.

Succession ‘s Roy family wrapped up Season 2 by hashing out their issues aboard a luxury yacht… and one key character went down with the ship.

Sunday’s finale starts back in D.C., with a bewildered Cousin Greg withering under the glaring spotlight of a tough Congressional inquiry, while Logan takes a call from a big-time shareholder, warning him that someone needs to take the fall for the cruise ship scandal… and “we feel that probably it should be you.” Logan doesn’t love that idea, of course, and gathers his brood in Venice for a stay aboard his decadent mega-yacht. (It’s almost like a Below Deck Med crossover episode.) There’s plenty of drama afoot: Willa’s play got hammered by bad reviews, Kendall brought Naomi Pierce along… and Tom is very flustered about Shiv planning a threesome with him and an old female friend.

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Where was ‘Succession’ filmed?

By James Medd

With the announcement that it will be the last, the prospect of Succession’s season four becomes even more intriguing. Over just 10 more episodes, that tantalising prospect in the show’s title must finally be resolved: who will triumph in this titanic family struggle and take on leadership of Waystar Royco?

Giving us a magnificent array of irredeemably awful characters, immaculately written and beautifully played, Jesse Armstrong’s show has been one of television’s greatest pleasures, and it’s also offered some of the best money-no-object locations from around the world. While we prepare for this Battle Roy-ale, here’s a tour of the highlights from seasons one to three and a taste of what’s coming in season four. As always with Succession, expect the views to be beautiful and the behaviour to be very ugly indeed.

Season four

As the Roys regather after their Italian showdown at the end of season three, we find them back in New York. We see all four gather at Peter McManus Café, an Irish bar on Seventh Avenue that claims it’s the oldest in the city, before heading out for karaoke. They also dine at Jean-Georges in Trump Tower, while Tom visits the Mark Hotel on 77th Street.

The production also enjoys a stint on the West Coast, where the star location is a spectacular property in the Pacific Palisades in Santa Monica. A mansion on San Onofre Drive, just at the edge of the mountains and the State Park, takes in six bedrooms, including a master with a roof that opens to the stars, indoor and outdoor ‘Zen gardens’, a rooftop deck with pool and a 20-seat cinema. Built by property developer Ardie Tavangarian, it’s available to let – though be warned; it was estimated to be the second most expensive house in California in 2021.

The big news for season four is a trip to Norway , home to Lukas Matsson. The tech mogul gives the Roys a tour of his part of the country, including several locations on the west coast. As producer Scott Ferguson told Variety, the opportunity was too good to turn down: “Norway is a glorious, natural setting. It immediately seemed like a perfect place for a family gathering in the series. We studied different countries, but we realised Norway just has this exceptional landscape – like nowhere else in the world.”

The locations here include some familiar: the extraordinary islet-hopping Atlantic Ocean Road, featured in Bond outing No Time To Die as the ultimate car-chase challenge, and the Juvet Landscape Hotel. This eco-resort outside the village of Valldal was seen in the sci-fi movie Ex Machina , and is made up of nine timber pods with floor-to-ceiling windows, along with a spa and converted barn dining room – the perfect home for a tech billionaire in 2023, in other words.

There’s also a reunion afoot, with Roys meeting key Royco staff at the summit of Nesaksla mountain close to the town of Andalsnes. We see the Eggen Restaurant here, with its 360-degree views of the Romsdalshorn and Vengetindene mountains and the Rauma River, as well as the Romsdalen Gondola, a cable car that transports them the 708 metres from ground level. Filming also took place further south on Kjeragbolten, a mountain to the east of Stavanger famed for waterfalls and a suspended stone, where we find some rather energetic activities going on amid the negotiations and ever-present backstabbing.

Season Four of ‘Succession’ can be seen from Monday 27 March 2023 on Sky Atlantic and NOWTV.

Season three

After the explosive drawing of battle lines that ends season two, we find Kendall holed up in the apartment of his ex-wife Rava in New York . This expansive home is played by the five-bedroom Pavilion A of the famed Woolworth Building, at 2 Park Place in Tribeca. Opened in 1912, the neo-gothic early skyscraper was once the tallest building in the world, and remains one of the most expensive. Kendall also has a new home of his own, revealed in episode three, filmed on the 90th floor at 35 Hudson Yards, part of the newly redeveloped neighbourhood in Chelsea that also featured in series The Flight Attendant . We’re back here in episode seven for Kendall’s 40th birthday in episode seven, filmed in the development’s arts venue The Shed after it was given a makeover that includes a treehouse and an abstract expression of his mother’s birthing canal.

While Kendall is in New York, Logan retreats to Sarajevo, where he bunkers down in the Hotel Clio. This was in fact filmed in Ellenville, a town in upstate New York, at the Honor’s Haven Retreat & Conference. Similar trickery is employed for Episode six’s visit to Richmond, Virginia and the Future Freedom Summit, where the Roys meet a pair of presidential hopefuls. For the location of the summit, the production filmed the exterior of the Jefferson Hotel in Richmond but shot the interiors back in New York, at The Plaza on Fifth Avenue. This venerable hotel provided its Palm Court, Terrace Room and Grand Ballroom, previously seen in various combinations in classics such as Funny Girl , North by Northwest , Arthur and Sleepless in Seattle .

Another of the city’s great hotels, the New York Marriott Marquis on Broadway, is the venue for episode five’s Waystar RoyCo shareholder meeting, while also featured in the season are The Pierre, A Taj Hotel, New York on East 61st Street, the Sheraton New York Times Square Hotel on West 53rd, and the Mandarin Oriental on Columbus Circle. Another notable New York location is the Cooper Union Foundation Building in NoHo, a brownstone from the 1850s housing a private college whose Great Hall is an established venue for speeches and art shows. It’s here that we see Cousin Greg meeting his grandfather Ewan in episode two.

After season two’s unforgettable ‘boars on the floor’ sequence, there’s also a return to the Hamptons. This time, it’s Logan and Roman alone, travelling separately in episode four to the island mansion of shareholder Josh Aaronson (Adrien Brody). His glass-walled waterfront property is in fact a private home in Wainscott, carefully shot to hide the neighbouring houses, while the surrounding area was filmed in nearby Montauk and the beaches of Shadmoor State Park and Kirk Park.

For the finale, season three goes one better than season two’s yacht trip with a Roy outing to Tuscany . British showrunner Armstrong admitted to Vulture that this was something of an in-joke for his countrymen: “I don’t know how much of a social signifier it is to Americans – anybody who can go abroad is really rich,” he said, "but [Tuscany] has this particular flavour for the English upper class. Some call it Chiantishire, in a slightly sickening way."

However the region resonates, the shoot provides some spectacular views, filmed by the same Italian crew who worked on the House of Gucci . In the starring role is Villa Cetinale in the small town of Sovicille, a 17th-century building with 13 bedrooms, a private chapel and extensive gardens, which became the wedding venue. The Roys, meanwhile, are in residence at Villa La Foce near the spa town of Chianciano Terme, with Kendall at the five-bedroom (plus, as we see, a pool) Villa Bonriposi in Legoli. We also see Shiv and Tom touring the bathing pool in the spa village of Bagno Vignoni, a full complement of Roy siblings dining with their mother at La Terrazza Del Chiostro in Pienza, and Shiv at her mother’s bachelorette party in the medieval town of Cortona.

Rivalling even Tuscany for beauty is another Italian location: the holiday home of GoJo’s Lukas Matsson (Alexander Skarsgard), which Roman visits on a whistlestop diversion in episode eight. Though we’re led to believe this is overlooking Lake Maggiore, it is in fact Villa La Casssinella on Lake Como . With a main villa, pool house with cinema and gym, formal gardens and an astonishing view, it’s only right that Matsson declares himself bored of it.

The show’s second season rings some changes, with a greater number of locations used, especially outside New York . Before then, though, we’re introduced to a new home in Manhattan for Shiv and Tom, filmed in an unspecified penthouse overlooking Brooklyn Bridge, and we see Kendall in Del Posto on 10th Avenue, the most lavish of NYC’s Italian restaurants.

In episode two, the family celebrate a child’s birthday at one of the company’s adventure parks, Brightstar – in fact, Six Flags Great Escape in Queensbury, upstate New York, the same location where in Season One we see Cousin Greg vomiting into his chicken costume. In episode six, we’re nearby at Whiteface Lodge, Lake Placid, a palatial timber resort in the Adirondacks that serves as the setting for the Argestes media conference.

Before that, episode one gives us a move reminiscent of season one’s family trip to the New Mexico ranch of eldest brother Connor, when we’re taken to a summit in Logan’s new house in the Hamptons , where a highly symbolic raccoon is causing a stink in the chimney. This is really the Henry Ford Estate at Jule Pond, in Mecox Bay, Southampton, built by Henry Ford II in 1960 and, with 42 acres and the largest ocean frontage in the region, recently valued at $175 million. Later, in episode five, the Roys visit business rivals the Pierces at another mansion, filmed at Salutation Manor in Glen Cove, on the north shore of Long Island. Situated on its own 48-acre island, this was built by a grandson of financier JP Morgan in 1919 and, with its long gallery corridors and formal drawing rooms, very much looks like it.

One of the season’s most gruelling scenes comes in episode three at the company retreat in Hungary, after a day shooting, drinking and plotting. Despite the ambience of old European royal residence, this was in fact shot close to Salutation Manor, at Oheka Castle in Huntington. Built (and named after) financier Otto Hermann Kahn in the 1910s, it’s a 127-roomed fairytale castle in the French style, down to the perfectly symmetrical sunken garden, used in photographic form as Kane’s Xanadu in Orson Welles’ Citizen Kane and now a hotel.

There’s also a return to the UK, this time to Logan’s hometown of Dundee, where he’s honoured at the new space-age riverside V&A Museum, and also Glasgow , where filming took place around George Square, and also doubled for scenes set in London . While there, the production took the opportunity to fly to Iceland for the season’s opening shots of Kendall in a rehab centre. According to producer/director Mark Mylod, this had originally been set at the Blue Lagoon spa close to Reykjavik but was hurriedly relocated after contractual difficulties. “With about a week to go, we were locationless, which was a little bit scary,” he told Filmmaker Magazine . “I’d been a big fan of Black Mirror and remembered a house I’d seen on an episode [season four’s Crocodile ], which I knew was in Iceland. It happened to be available, and we jumped all over that. It was a fantastically stark location.”

In sharp contrast, the season ends with the Roys amid blue skies and seas in the Aegean Sea and Croatia . This was filmed on the island of Korcula , both on the 279-foot charter yacht Solandge and in the Old Town, taking in the 15th-century St Mark’s Cathedral and shoreside restaurant Cupido.

The base for both the show and the Roy family at its centre is New York City . At its heart are two locations, patriarch Logan’s house on Fifth Avenue and the head office of his Waystar Royco empire. The home, a high-ceilinged Billionaire’s Row townhouse straight out of the Gilded Age, is created mostly in a studio. When we see the lobby, though, it’s really the entrance to the American Irish Historical Society, which is indeed on Fifth Avenue, overlooking the Metropolitan Museum of Art and Central Park. The offices, meanwhile, are recreated in two empty areas in the World Trade Center, in blocks 4 and 7, giving the authentic top-of-the-world views over Midtown Manhattan.

Season one also shows us a variety of other NYC spots, from the company gala held in the Cunard Building on Broadway in episode four to the East New York Freight Tunnel, a graffiti-heavy section of unused railroad track that provides the entrance to the elite event visited for the bachelor party of Tom (Matthew Macfadyen) in episode eight. We also see the Downtown Manhattan Heliport at Pier 6, where the family choppers out in the first episode for a high-stakes game of rounders starring rogue son Roman (Kieran Culkin), and the Bellevue Hospital, the revered institution on First Avenue where Logan is taken when he suffers a stroke.

For the final two episodes, the show moves to the UK for Shiv’s wedding. This takes place at the home of her English mother, Lady Caroline (Harriet Walter), filmed at Eastnor Castle in Herefordshire , a fantastical faux-medieval construction from the 19th century that has featured on film and TV for 50 years, including the BBC’s children’s classic The Box of Delights and Madonna’s reviled biopic of Wallace Simpson, W.E. (2012).

What happened in the 'Succession' season 2 finale?

Let's recap all the drama from the 'Succession' season 2 finale before you start those new episodes

Brian Cox, Jeremy Strong in Succession season 2 episode 9, Succession season 2 finale

Our favorite dysfunctional billionaires are back! Succession season 3 kicked off on October 17, but before you click play on those fresh-from-the-oven episodes, let's catch up with the Roys and everything that happened in that drama-filled Succession season 2 finale, which aired a whopping two years ago due to COVID-related delays.

Could you believe what Kendall did during that press conference? Or how bumbling Cousin Greg has turned into a veritable power player? What do you think is going to happen with Tom and Shiv's marriage?

From the core Roys to the schemers that encircle them, here's a complete refresher on how did season 2 of Succession end, just in time for new episodes to hit HBO Max .

*Warning: It goes without saying but there are major spoilers ahead, people!*

Is Succession on Netflix ? How to watch the hit series
How many seasons of Succession will there be? Inside season four and beyond
Succession filming locations : Enter the world of Waystar Royco
What is Succession based on ? Behind the show's real-life inspiration

A post shared by Succession (@succession) A photo posted by on

'Succession' season 2 finale: What went down?

Season two of Succession simultaneously dealt both with the rise of Logan Roy's successor—would it be Kendall, Siobhan, Roman or, LOL, Connor?—and with the potential downfall of the media empire that he ruthlessly built over the years, as rumor has it that the company's cruise ship division has been acting as a major cover-up for serious crimes, including murder and sexual assault.

The Succession season 2 finale, entitled "This is Not for Tears," finds the Roy family and its Waystar Royco cohorts on a—what else?—luxury yacht strategizing which member of the clan would be offered up as a "blood sacrifice" to take the fall for the cruise scandal ahead of the shareholders' meeting.

Would it be Logan himself, like the investors suggest? Unlikely. How about Tom, Shiv's husband and the head of Waystar Royco’s amusement park and cruise division, with "some Greg sprinkles"? Maybe Roman, who's "widely known as a terrible person"?

In the end, they decide on middle son Kendall Roy, who had already spent the better part of season two acting as his dad's punching bag. According to the plan, Kendall would take the blame for the cruise division crisis and announce his resignation from Waystar Royco during a news conference. Instead, Kendall pulls a total 180 and publicly betrays his father, revealing to the press that he has hard evidence—remember those damning documents that Cousin Greg filched before Tom could destroy them?—that Logan not only knew about the criminal cruise cover-ups, but he personally signed off on them.

"The truth is that my father is a malignant presence, a bully and a liar...this is the day his reign ends," Kendall tells the press, ripping up the pre-approved statement Logan wanted him to read, as the rest of the Roy dynasty watches the televised report in shock. The final shot of Succession season 2? A close-up of Logan Roy with a hint of a Mona Lisa smile on his face, whether out of being stunned or impressed, we don't know.

Backstabbing, boardroom drama, big-ass boats—what more could you want from a Succession finale? You'll have to watch season three to find out how that epic cliffhanger plays out.

Succession airs Sunday nights at 9pm ET/PT on HBO and HBO Max in the US, and on Monday nights at 9pm on Sky Atlantic in the UK.

Christina Izzo is the Deputy Editor of My Imperfect Life.

More generally, she is a writer-editor covering food and drink, travel, lifestyle and culture in New York City. She was previously the Features Editor at Rachael Ray In Season and Reveal , as well as the Food & Drink Editor and chief restaurant critic at Time Out New York .

When she’s not doing all that, she can probably be found eating cheese somewhere.

As a self-proclaimed blush connoisseur, I swear by ILIA's cheek and lip stick and hopefully, when my work is done, you will too.

By Naomi Jamieson Published 28 September 23

If you've been looking for a new, signature hair look for fall, Emma Chamberlain may have just come *through* for you...

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The Real C.E.O. of “Succession”

By Rebecca Mead

When Jesse Armstrong, the writer and creator of the HBO series “ Succession ,” arrived on set at Amerigo Vespucci Airport, in Florence, one morning in June, he was faced with an extravagant decision. The scene to be shot was from the first episode of Season 3, in which various members of the Roy family—the dysfunctional media dynasty whose power struggles the show acidly chronicles—have just disembarked from the yacht on which, in the Season 2 finale, they bobbed in gilded captivity. Two planes had been positioned together on the tarmac: a Boeing 737, rented at a price of more than a hundred thousand dollars, and a smaller Falcon business jet. Tracks had been laid for a dolly shot. The temperature was already climbing into the eighties, and a crew of more than two hundred people bustled about the runway, perspiring in high-visibility vests.

The scene hinged on a surprise. In the final moments of the previous episode, Logan Roy, the volatile patriarch, was aboard the yacht, watching a live stream of Kendall Roy, one of his four ambitious offspring, at a press conference in New York, where he had been sent to publicly shoulder the consequences of a scandal in the cruise-ship division of Waystar Royco, the family conglomerate. Instead of offering himself up as a sacrifice, however, Kendall had stuck the knife into his father. The new season, which begins airing in October, picks up the story moments later, with Logan, the rest of the family, and Logan’s most loyal executives still in Europe, calculating how to counter Kendall’s move.

“It’s a moment of indecision,” Armstrong said of the tarmac scene, above the drone of idling jet engines. Though the previous season ended with a closeup of an inscrutable smile on Logan’s face, “this is the moment at which you get the sense that Logan is worried.” In the new script, Logan chooses to divide his forces into two camps: one party will return to America while he and others fly elsewhere. Armstrong’s decision that morning involved the placement of the two rented planes, which airport staff had parked close together. As he put it to me, his concern was that having two planes visible at the outset of the scene would preëmpt the story: “I think a viewer’s sense would be: ‘They can all travel together on the big plane. So why is there a second plane?’ ”

An embarrassment of airplanes: a very “Succession” problem. The show, a word-of-mouth hit, is known for its faithful depiction of the bountiful resources and anesthetized habits of the very wealthy. On an excursion from the yacht in Croatia, Logan’s son-in-law, Tom Wambsgans, instructs the pilot of a small boat, “Next cove, please, Julius,” so that he and his wife, Shiv, can be ferried to a sublime coastal spot for the unhappiest picnic ever. Armstrong—whose display of personal indulgence, in spite of his professional success, so far extends only to showing up to the Season 3 writers’ room in an extremely nice blue cashmere sweater—is a good-natured stickler for verisimilitude. The playwright Lucy Prebble, who is one of the show’s writers, recalls “someone coming in and saying, ‘We can’t have two helicopters,’ and noting how many tens of thousands of dollars they cost, and Jesse just saying, in a really relaxed way, ‘I think we probably need two.’ ” “Succession” documents wealth but it does not fetishize it, with the possible exception of a backless wool turtleneck dress worn by Shiv in an episode of Season 2; the garment was so delectably impractical that it inspired a flurry of online shopping. In general, the show makes affluence look vaguely diseased, and emphasizes the ways in which even the very rich cannot be entirely insulated from the drudgery of inconvenience. Mark Mylod, who has directed close to half the episodes of “Succession,” and is also an executive producer, told me, “We try to find situations where the characters cannot control the world, whether the weather’s bad or they are stuck in traffic.” For last season’s finale, Mylod filmed scenes on the yacht in the middle of the day, beneath harsh, overhead sunlight, in order to make the characters seem uncomfortably exposed, physically and emotionally. When, in the same episode, Logan is obliged to conduct a humbling video call with one of his corporation’s major shareholders, it is not from the comfort of his Audi but, rather, from the grim patio of a service station on a busy highway.

At the Florence terminal, the drawbacks of private plane travel—being ferried in cramped vans to wait on a scorching, gritty, noisy airport apron, as opposed to sharing a large, air-conditioned terminal with commercial passengers—were identical to the drawbacks of shooting high-end television in an inhospitable location. The actors clutched their scripts while members of the hair-and-makeup team attended to them, attempting to keep sweat and grime in abeyance. Will Tracy and Tony Roche, two of the show’s writers, hid under a small awning, using their phones to read Armstrong’s script for a forthcoming episode. Given the prevailing discomfort, Armstrong had to weigh how much of a disruption it was going to be creatively, physically, and emotionally to preserve the revelation of a second plane. In consultation with Mylod, who was directing the episode, a decision was reached not to compromise narrative integrity: the Falcon would be towed out of sight. To Armstrong’s relief, a driver on a small white tug had removed the offending plane within fifteen minutes. “I thought it was going to be a huge deal to move a plane,” Armstrong told me, once the Falcon had been shunted aside. He sounded amused, even a little wondering. “But, luckily, it took just one little man.”

The table read of the pilot episode of “Succession” took place in Manhattan on November 8, 2016: Election Day. That evening, the cast and the rest of the team gathered at the home of Adam McKay —an executive producer of the show, and the director of the pilot—for a party that was expected to celebrate the victory of Hillary Clinton . Matthew Macfadyen, the British actor who plays Tom Wambsgans, told me, “We watched the results come in, and everyone wandered off into the night—good for storytelling, bad for humanity.” Armstrong’s most significant memory of the occasion was how quickly attendees accommodated to what initially seemed to be earth-shattering news. “It was such a shock—then five, ten minutes later, everyone’s living in a new reality,” he said. Even in calamity, he observed, many people are “quite oriented towards how it affects them, and what they will do next.”

The first episodes of “Succession,” which aired in the summer of 2018, established an elliptical relationship to contemporary reality: there would be no specific references to Trump . But, with the U.S. government turned over to a leader with a transparently chaotic, transactional, and rapacious nature, the show met the national mood. “Succession” would have been equally entertaining had Hillary Clinton become President, but it wouldn’t have felt so timely if it hadn’t appeared after the election of Trump—a candidacy championed by Fox News , whose core strategy of chasing ratings by spreading fear is not dissimilar to that of ATN, the news organization owned by Waystar Royco. The opening credit sequence of “Succession” includes a cheeky shot of an ATN news ticker; in Season 2, it reads, “ gender fluid illegals may be entering the country ‘twice .’ ”

For some viewers, Armstrong’s thoroughgoing commitment to a curdled view of humanity—as the Roys jockey for position, they trade such endearments as “the cunt of Monte Cristo”—made the show at once intolerable and irresistible. “ I hate everyone on ‘Succession’ and I can’t stop watching, ” a typical headline read. The show is so unsettling, in part, because it offers no vantage points exterior to its scrupulously rendered universe—there is no outsider figure who is easier to identify with than the amoral protagonists. The Roy family’s outsider, Cousin Greg , is as calculating as any member of the clan with whom he seeks to ingratiate himself. Culture critics have popularized the term “wealth porn” to characterize shows, such as “ Billions ” or “ Gossip Girl ,” that lavish attention on the consumption habits of the absurdly wealthy. But, if the shiny surface of “Succession” bears a relation to pornography, it is less because it titillates than because it partakes of pornography’s deadening relentlessness.

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“Succession” also withholds cheap catharsis. Kendall’s backsliding with drugs is only the most overt example of the show’s gothic sensibility: all the Roys have been poisoned by the toxic nature of the family fortune, and Armstrong refuses to impose on them the kind of artificial personal growth that fosters an easy bond with the audience. The closest that “Succession” has come to giving its characters a respite from their crabbed emotional confinement is when Kendall, at a particularly low ebb, begs Shiv for a hug. She awkwardly complies, but only after saying in astonishment, “Give you a hug ?”

Given the care that Armstrong puts into making “Succession” a complex viewing experience, he is reluctant to explicate the show too much, as if it were reducible to a tidy set of themes and intentions. Nevertheless, his ambitions in “Succession” are driven not by a voyeuristic fascination with the rich—or by a righteous desire to expose the perfidies of inequity—but by a wish to tell, through the specific medium of a contemporary media dynasty, a more universal story about power and family relations, and to show how those forces can torque an individual’s humanity. It’s not so much “Billions” as “ Buddenbrooks ,” with more money and less grain. In one of a series of conversations during the making of Season 3, Armstrong told me, “One of the things that strikes me when I’ve read about these families—whether it be the Maxwells or the Redstones or the Julio-Claudians—is that, when you get that combination of money, power, and family relations, things get so complicated that you can justify actions to yourself that are pretty unhealthy to your well-being as a human being. Or you don’t even need to justify them, because the actions are baked into your being.” The infighting can become so darkly satisfying that it consumes one’s life: “For people who come from powerful families, there is nothing in life quite as interesting as being at court.” Indeed, almost nobody in a rich family steps away from the drama. “For these people to be excluded from the flame of money and power, I think, would feel a bit like death,” Armstrong said.

Armstrong’s interest in how human beings work—in what they say, and what they leave unsaid—is combined with a gift for comic dialogue that bounces from the demotic to the lewd to the baroque. Upon arriving at the family’s Hamptons estate, Logan demands that the doors be opened, noting, “It smells like the cheesemonger died and left his dick in the Brie.” When Cousin Greg is grilled at a congressional hearing, he responds to one question by saying, “Uh, if it is to be said, so it be, so it is”—a tortured circumvention of “Yes.” The uneasy simultaneity of comedy and drama that “Succession” depends on is a consequence of Armstrong’s unwillingness to save his characters from themselves. The writer and director Chris Morris, on whose recent movie “The Day Shall Come” Armstrong worked as a writer, told me, “Each of the characters in ‘Succession’ gives you the capacity to hope that they might snap out of the trap of their own existence. Jesse is the perfect sadist, because he is horrible to each one in turn, and yet he offers the audience just enough to hope that the characters might this time not disgrace themselves in the way that we kind of know they will. It is basically like a cat playing with a mouse and not killing it.”

A certain pitilessness, Armstrong told me, is not a bad thing for a work of fiction to have. “How can you be true about human beings?” he said. “That is a preoccupation.” He went on, “Without getting too highfalutin, there’s that quote from Marx, in ‘ The Eighteenth Brumaire of Louis Bonaparte ,’ where he says men and women make their own history, but not the circumstances of their own making.” (The original text is less taut: “Men make their own history, but they do not make it as they please; they do not make it under self-selected circumstances, but under circumstances existing already, given and transmitted from the past.”) Armstrong continued, “For me, a lot of the art and the work of the show is in that territory between what’s history in the broadest sense, what’s family history, what’s tradition, and what’s the room for one’s own choices, and your own making of your life and your world. And there’s a gap there, which that mysterious thing about human personality fills.”

Whether Armstrong is on set at one of the foreign locales that give “Succession” its glossy atmosphere of sterile, moneyed internationalism or at Silvercup Studios in Queens—where the set of Logan Roy’s Fifth Avenue apartment, modelled on the mansion owned by the Council on Foreign Relations, is maintained—he is “like the mayor of a small town,” Jon Brown, a writer for the show, told me. Brown recalled, “I was in his office one day, and he was trying to write an episode, and someone came in and said, ‘Jesse, the caterers have made an ice sculpture, and they would like you to come and look at it,’ and Jesse had to put his episode down to go and look at it. He has these civic duties to keep everyone happy.”

When Armstrong is not issuing the equivalent of mayoral proclamations, he works in a rented room in a converted department store in Brixton, a neighborhood in South London. The office is spacious and airy but modestly equipped, with a wall of bookshelves and a teakettle on a side table. He keeps a carton of milk on the window ledge outside, like a student. “It feels a bit profligate having a whole fridge just for one pint of milk,” he said when I visited. His desk faces a window that overlooks a commuter railway. When I remarked that the clatter of passing trains must distract him, Armstrong looked surprised, as if he’d never noticed it before. “If you’d asked me if I could hear the trains from my office, I would have told you, ‘I don’t think so,’ ” he said. “I’d be a terrible—or brilliant—estate agent.”

Armstrong, who is fifty, has a scruff of salt-and-pepper beard that comes and goes, intelligent brown eyes that he often closes in concentration when speaking, and a measured voice that is lightly inflected with the accent of Shropshire, in the West Midlands, where he grew up. He is as affable as the characters on “Succession” are disagreeable. Prestige TV is prime territory for assholery, and the writers’ rooms of some of the best shows of recent decades have been arenas for conflict. Matthew Weiner, the creator of “ Mad Men ,” was called “an emotional terrorist” by a former writer on the show. (“I was a very demanding boss,” he later told the New York Times .) When Aaron Sorkin , the creator of “ The West Wing ,” was accused of yelling at a female writer on his HBO series “ The Newsroom ,” he responded that writers’-room arguments are “not only common, they are encouraged.”

This is not Armstrong’s style: he prefers to engender creativity with stability. “I’ve never seen him lose his temper,” Jon Brown told me. The show employs ten staff writers, half of them British and half American, and, unusually for a comedy, there is a roughly equal proportion of men to women. Even when the show has been in production and Armstrong, in addition to his other duties, has been writing the final two episodes of the season, he has remained equanimous. Brown recalled, “When we were in Scotland filming last season, there was a time when he asked me and Tony Roche to stop talking, so he could concentrate. Me and Tony were, like, ‘Fucking hell, someone’s grumpy.’ And then, in an hour, Jesse was, like, ‘You can talk again.’ ”

Francesca Gardiner, one of the writers of Season 3, said of her boss, “He’s sort of cool-dorky.” Armstrong bakes. He’s been a vegetarian—with occasional excursions into fish—since his youth. He met his wife, who works for the National Health Service, when they were in college, at the University of Manchester. They have two children and have lived in the same unflashy part of South London for almost three decades. When I asked if he had plans to upgrade his domestic space, he said, “We might do a new kitchen. So that will be corrupting.” Jeremy Strong, who plays Kendall Roy, told me, “I think it was Flaubert who said, ‘I want to live the quiet, ordered life of the bourgeoisie so that I can be violent and original in my work.’ That’s Jesse.”

Meticulous research goes into making “Succession” feel true to the rarefied world it portrays. What kind of overcoat would Logan Roy wear? A trick question: a mogul being perpetually shuttled from corner suite to climate-controlled limousine to luxury apartment doesn’t need an overcoat, no matter how cold it gets. Each of the staff writers is tasked with exploring a different dimension of the “Succession” world—which is, Armstrong acknowledges, overwhelmingly white and privileged. “We are working to reflect the world as it is, and not as we would wish it to be,” he said. “There’s another sort of show in which edging the world a bit towards what one would want it to be doesn’t hurt the show at all, whereas our show is critical-satirical—we need to portray that very particular and very powerful bit of the world it is concerned with quite precisely.” Last season, it fell to Susan Soon He Stanton to conduct an inquiry into the ministrations provided by the staff of a luxury yacht. She reported back that attendants wipe specks of powder from the rim of a guest’s makeup compact and print out copies of the daily newspapers every morning, as if they had been freshly fetched from a terrestrial newsstand. Jon Brown took a deep, if not hands-on, dive into the kind of élite sex club that serves as the setting for Tom Wambsgans’s bachelor party in Season 1. In an early draft of the scene, Brown incorporated an incident that he’d learned about during his investigations, in which an orgy room’s music speakers failed, making the slapping sound of flesh on flesh wetly audible. “After about one second, someone shouted, ‘Put the fucking music on,’ because even they didn’t want to hear how disgusting it was,” he told me. Armstrong decided to spare Tom that particular degradation, perhaps because he would soon put him through a humiliation that deliberately echoes the kind of sadistic jokes Josef Stalin used to play on party guests. At a dinner at a corporate retreat in Hungary, Logan, determined to stop leaks to the press, invents Boar on the Floor, a game in which executives suspected of betrayal are forced to crawl and chase sausages on the parquetry. “No half-hearted oink!” he demands.

As background for “Succession,” Armstrong and his writers loyally read the Financial Times , and they have plowed through a library’s worth of media biographies. They took a close look at “ Crime and Punishment ,” in order to deepen their depiction of Kendall’s inner turmoil, and consulted histories of ancient Rome in the hope that understanding the relationship between Nero and his freedman Sporus—whom the Emperor commanded be castrated, before undergoing a sham marriage ceremony with him—might illuminate the dynamic between Tom and Cousin Greg. The show has also hired such literary consultants as Gary Shteyngart, the novelist whose 2018 book, “ Lake Success ,” also depicts the lives of the super-rich in New York; among other things, Shteyngart discussed with the “Succession” team the delusionary psychology of hedge funders who are convinced that their wealth will protect them from the consequences of climate change. Tom Holland, the author of wide-lens books about ancient and medieval history, spoke about Caligula and other dissolute Roman leaders.

Last year, Brown told me, Armstrong came into the writers’ room with a big notion about the Epic of Gilgamesh . “I am fucked if I have any idea what the Epic of Gilgamesh is,” Brown said. “But if it makes you feel like you deserve your Emmy a little more, knock yourself out.” Armstrong assured me, “I have not read the Epic of Gilgamesh. I have probably listened to an ‘In Our Time’ podcast about it.” This lapse notwithstanding, Armstrong is a serious reader. Once, when I asked him which books he’d read recently, he mentioned the memoirs of Jack Straw , the Labour Party politician who served as a Member of Parliament and as Lord Chancellor; Robert Draper’s book about the run-up to the Iraq War; “ A Little History of Poetry ,” by John Carey; and the short stories of Jean Stafford.

Armstrong is disciplined not only in his reading. At the outset of writing Season 3, he started taking early-morning swims at Brockwell Lido, an unheated outdoor pool in London; as winter closed in, he updated his collaborators with slightly smug daily reports about the increasingly frigid water temperatures. Certain aspects of Armstrong’s work habits suggest a need to exert control. In the fall of 2019, the writers’ room for Season 3 was set up in a modern office building in Victoria. Dismayed to discover that he could not personally adjust the thermostat, Armstrong drew a picture of one set to 21.5°C—about 70°F—and put it on the wall. “You are meant to have a slightly cooler room for comedy,” he told me. “Standups always like the room cold, and if you’re shooting a sitcom live you want it a little bit chilly for the audience. I don’t know why—you’d have to ask a combination of an evolutionary psychologist and a building-maintenance man.” The room in Victoria also lacked a clock, and so, on a whiteboard featuring charts denoting each character’s development episode by episode, Armstrong drew a clock set to 2:25 p.m. It’s a hopeful time of day for a TV writer, he told me, since the room officially wraps up at 3:30 p.m .: “It’s almost there—not painful, watch-checking time, but nice to be toward the end of the day.”

When the show is in development, Armstrong’s preferred practice is to begin the day with each writer, in turn, giving an account of what she or he did the previous night, a process that can last as long as an hour. Will Tracy told me, “We go round the room clockwise, and everyone says what they ate for dinner, what bad movie they watched on TV, how much sleep they got—the more mundane, the funnier and better. At first, I thought this was very odd, but I immediately noticed that it bonded the writers—we developed a kind of group rapport very quickly.” Tracy went on, “And then all kinds of stuff from those evening recaps weaseled their way into the show. Someone will mention something about a friend who lived on Staten Island and had to commute into New York, and all of a sudden there’s a little line in the script about how Greg is living on Staten Island, and he’s coming in on the ferry every day and it’s a nightmare.” (A sneer from Tom: “Dude, why stop at the ferry? Just come in from Cleveland on the Greyhound.”)

Batman confronts Catwoman about her plan to take over the internet with cats.

Personal preoccupations, or nuggets of family history, find their way into the scripts, along with the writers’ research. The unfolding disaster of “Sands”—the dreadful play written by Willa Ferreyra, the girlfriend of Logan’s eldest son, Connor Roy—is informed by Armstrong’s impatience with the experience of theatregoing. “I am almost phobic about fearing that I am going to be bored, and in the theatre it’s a bit rude to leave, so I find that increases my anxiety about being bored to high levels,” he told me. The story line is enhanced by the presence in the writers’ room of some acclaimed playwrights, including Lucy Prebble and Susan Soon He Stanton. When, in an episode partially written by Stanton, Shiv meets Logan for a post-theatre supper and asks him how he enjoyed the play, his weary reply is “You know—people pretending to be people.”

When I visited the writers’ room after hours one afternoon in late 2019, I peeked at the whiteboards, along with other visual evidence of the group’s creative discussions, such as photocopied images of paintings, by Goya and Rubens, of Saturn devouring his son. There was a chart documenting a group competition to predict the results of the recent U.K. general election, which had secured Boris Johnson ’s position as the country’s Prime Minister (to the dismay of the liberal intelligentsia of London, among other constituencies). The clear winner was Armstrong, who had predicted a Conservative margin of victory far greater than even the most pessimistic of his collaborators thought possible. “One of the privileges of doing a show like this is that you are able to think about the world with some other smart people,” he told me. “Do you know that W. H. Auden quote—‘Poetry makes nothing happen’? To some extent, poetry can stand in for this kind of work as well. I don’t suppose it is going to have any direct influence on the world. But it is still a way of being in it, and feeling like you are part of it, instead of entirely being acted upon.”

More than a decade before Armstrong wrote the pilot of “Succession,” he was commissioned to write a documentary-style teleplay set at a family dinner party celebrating Rupert Murdoch ’s eightieth birthday. That project didn’t get far off the ground, but it did come to the attention of Frank Rich, the former New York Times columnist who is now an HBO producer. That and other Armstrong scripts impressed the network enough to green-light “Succession,” which takes inspiration not only from the Murdoch dynasty but also from other media families, including the Maxwells and the Redstones. Among Armstrong’s unmade but most admired projects is a bio-pic of Lee Atwater , the scabrous Republican strategist who helped elect George H. W. Bush to be Ronald Reagan’s successor as President. “It’s morning in America . . . and I tell you what, I have morning fucking wood,” Armstrong’s Atwater announces on page 1. Rich described the script to me as “a history of right-wing politics up to that time, with a comic touch,” adding, “I couldn’t believe this British writer could write such a compelling piece about American politics.”

At first glance, it might seem surprising that “Succession”—a show saturated in knowing detail about Manhattan, even if it is concerned with a global corporate business—was conceived by a British showrunner and is the product of a writers’ room in London. The Roys, though, have British roots: Logan is from a working-class Scottish background, and the mother of the younger Roy children, Caroline, is a frosty English aristocrat. Armstrong told me that in considering Caroline’s class background he had in mind someone like Lady Caroline Blackwood, the author and the daughter of the Marquess of Dufferin and Ava, who was married to both Robert Lowell and Lucian Freud. The barb-trading discourse of the family, and also its aversion to the expression of emotion, are recognizable as culturally inherited traits. When Kendall visits his mother and tries to confide in her late one night, she recommends that they wait until morning, so they can talk “over an egg,” then scarpers before he rises. Brian Cox, who plays Logan—and who, like his character, was born in Dundee, Scotland—has an apartment in London, and when I met him at a café in Primrose Hill he told me, “The show has a kind of Swiftian satire. It’s in the vibe of this country.”

The “Succession” scripts are peppered with the type of memorably lurid cursing that another British writer, Armando Iannucci , helped make a hallmark of HBO, with “ Veep .” 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. The characters in “Succession” often employ weirdly original turns of phrase, as if they were generating on the spot the inventive speech of an individual caught between two cultures. When Tom learns that Cousin Greg is driving his grandpa from Canada to New York, he taunts, “Canada? With the health care and the ennui?” When the mischievous Roman Roy returns from a brief corporate posting in the sticks, he gives Logan’s butler an almost Falstaffian greeting: “Hail, my fellow toiler man, I have returned from real America, bearing the gift of sight.”

Will Tracy told me, “Jesse has a very particular kind of phraseology for the way people speak—even particular obscenities or analogies. The characters will use a kind of dialogue that makes me think, I’ve never really heard somebody speak that way. But it feels real, and not like a TV writer writing a line of what feels like dialogue.” Tracy, who is American, recalled that, when he first heard certain phrases in the writers’ room, he assumed that they were Britishisms. “But it turns out they are just Jesse-isms,” he said. “Like, he’ll say, ‘Tom is completely freaking out—he’s completely shit his whack.’ I said, ‘Is that a British thing?’ Jesse said yeah, but Tony and Georgia and Jon said no . Jesse thought that it was a thing.” The phrase will be introduced to the lexicon in an upcoming episode.

Armstrong has been interested in America since he was a teen-ager growing up in Oswestry, a market town on the border with Wales. His father, David, was a high-school English teacher who later turned to writing crime fiction; his mother, Julia, worked at nursery schools. Armstrong told me, “Oswestry’s a bit in the middle of nowhere—quite tough, and quite English, in the way border towns are.” In 2013, he made a short film, “No Kaddish in Carmarthen,” centered on Gwyn, a fifteen-year-old Welsh high schooler with a fascination for Woody Allen , who adopts black-rimmed non-prescription glasses and claims to be Jewish. “Mam’s a Methodist,” Gwyn says. “It’s the same thing—it’s similar.” Armstrong calls the film a “short-story version of an element of my youth.” His parents were gently countercultural, in a health-food-and-alternative-energy kind of way; they were also eager to expose Armstrong and his younger sister, who is now a graphic designer, to the world beyond their provincial town, with family trips to Greece and Tunisia.

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. He chose the university partly because it had an excellent American Studies department, and partly because the city had a vibrant cultural scene, with the celebrated Haçienda night club having hosted such bands as the Smiths and New Order. “When I was choosing where to go to university, we used to try to go to the Haçienda, and we were always turned away,” Armstrong said. “I felt like if I went to the university I could try more frequently, at least.”

As part of his degree, Armstrong spent a year at the University of Massachusetts Amherst. Student life there was bracingly political in a way that Manchester at the time was not, and Armstrong contributed to the school’s daily newspaper. But rural Massachusetts felt much less sophisticated. “I’d never before seen people carrying around four cans of beer, like they’d captured some amazing trophy,” he recalled. He drew on the experience of his year abroad for an unrealized dramatic-comedy script in which two friends—a nerdy white guy from UMass and an affluent Black graduate of Amherst College—pool their resources to buy a cocoa plantation in a fictional African country, planning to make bespoke chocolate for American hipsters.

After college, Armstrong worked for two years in Westminster, London’s political district, as an assistant to Doug Henderson, a Member of Parliament and the shadow minister of home affairs for the opposition Labour Party. “We had a weirdly broad brief—everything from the Channel Islands to dangerous dogs to asylum and immigration,” Armstrong recalled. He did not take to the corridors of power; at the 1996 Labour Party conference, held in Blackpool, he so dreaded the prospect of schmoozing at parties that he spent his evenings feeding coins into video games at the amusement arcades on the pier. He was less interested in exercising influence and more interested in noting the quirks of those who held it, such as Ann Widdecombe, a right-wing politician whose office had two posters on display: an anti-abortion image of a fetus, and an image of Garfield, the cartoon cat, bearing the legend “If you want to look thinner, hang out with people fatter than you.” Armstrong told me, “She didn’t mean them to relate to each other, but to see them together was intriguing.” Though he disliked Westminster, the experience helped him as a writer on “The Thick of It,” a profane satire of British politics created by Armando Iannucci.

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. Armstrong discovered that having a writing partner was an amenable way to live. “There’s this third entity, Bain & Armstrong Industries, so, when you stop work and go home, you feel more like you’ve gone home from work than you do when you are working solo,” Armstrong said. “And you have got somebody who is exactly as interested as you are in your career.”

Their first big show, a British reboot of the U.S. sitcom “That ’70s Show,” was a flop. But in 2003 they had a breakout success as the co-creators and principal writers of “Peep Show,” a sitcom about sad-sack flatmates: Mark, a bank-loan officer, and Jeremy, a failed musician. The scripts, instead of featuring snappy dialogue, were anchored by the interior monologues of the two protagonists, from whose perspective scenes were often shot. The show, which ran for nine seasons, is widely considered to be a British comedy classic; Chris Morris told me that Armstrong and Bain became known as “the ultimate word in flawed male psychology.” One celebrated episode is predicated on Armstrong’s aversion to theatre: Mark is drafted to join Jeremy on a double date to a low-budget play, and they endure the experience as if undergoing a dreadful medical experiment. “When do we get to go out?” Jeremy whispers to Mark as they sit between their dates. Mark, looking crucified, replies, “As far as I can make out, we get to go out for a bit in an hour, and then we have to come back for two hours .”

Armstrong’s background in half-hour comedies can be detected in the economy of the “Succession” scripts, and in the premium the show places on keeping things lively. “I still think a half hour of comedy is the most intensive form of writing you can do,” he said. Kieran Culkin, who plays Roman, told me that Armstrong is allergic to shtick: “If it’s just a little bit—half an inch—too far-leaning into something, he’s going to catch it. On any other show, people would be, like, ‘Oh, that’s funny, let’s do that.’ And he’ll always be the voice of reason: ‘Yes, it’s funny, yes, it’s great, but it doesn’t work.’ ”

Armstrong rejects the privileging of drama over comedy, and happily calls “Succession” a satire. But the characters are far more complicated individuals than are likely to be found in a sitcom; their stunted interiority is explored with a combination of empathy and dispassion. Such nuance is possible, in no small part, because of the actors playing these roles. Brian Cox is a Shakespeare veteran, as is Sarah Snook, who told me that playing Shiv had helped her understand the role of Cordelia, in “King Lear,” rather than the other way around. “I felt like I understood the weight of familial responsibility, and the love and compassion a daughter can have for a father and leader, though he may be difficult,” Snook said. Jeremy Strong approaches Kendall with an immersive rigor, not with the audience-pleasing instincts of a standup. Strong told me that, during the filming of the pilot, he asked Armstrong at one point whether they could spend some extra time exploring Kendall’s history. “Jesse said, ‘Let me sit with this for a minute,’ and I went and got some lunch, and then twenty minutes later I got an e-mail entitled ‘Window Rumination.’ It was a fully realized monologue—a memory he’d created of Kendall visiting the office when he was six years old. He was like this little prince in the office, and everyone was adoring of him and smiling, and he kind of wandered off a little too far, and there was this huge guy, a security guard, who didn’t know who he was, and it sort of escalated, and this six-year-old Kendall was powerless and tongue-tied, until his father came and found him. It was a poignant and beautiful piece of writing, and, to me, central to this character’s struggle and experience—being lost in this oceanic moment and being saved by his father’s embrace.” The scene didn’t make it into the pilot, “but it’s all embedded,” Strong told me. “It was an amazing experience of finding this character together.”

Armstrong told me that his ability to empathize with the Roys’ flaws is likely connected to his having reached an age at which “you’re more aware of the tragic things that can happen to yourself, and other people.” He went on, “So-called dark or serious things can still be funny, but, as you get older, more terrible things happen to more people you know. The things you laughed at as a young person—you’d better be careful, because they could happen to you tomorrow. With jokes about old people wearing nappies, or infirmity—what are you laughing at? It’s going to be you, or your mum and dad, tomorrow. There’s nothing funny about that, and, if you think there is, you had better wonder about who is the subject of that joke.”

In early 2020, when it became clear that the filming of Season 3 would not begin that April, as planned, Armstrong hunkered down in South London. Around that time, he wrote me an e-mail that captured the tenor of the city: “Panic buying is still at the embarrassed, English, ‘what, I always buy this many lentils’ stage.” He told me that it remained to be seen whether current events would make it into the show “as a whiff or a stench.” By the spring, the crisis had come into darker focus: Mark Blum, the actor who played the cruise-division executive Bill Lockhart in Seasons 1 and 2, had died from covid -19 in New York City.

Weeks of delays turned into months. HBO executives were telling him to wait, Armstrong reported, “rather than have Logan do a series of Webinars we can put out on HBO Max.” During the course of the next few months, the show’s executive producer, Scott Ferguson, figured out the logistics of layering a covid -19 safety unit on top of the regular production crew, at a cost of millions of extra dollars. Production finally resumed, in New York City, in November. In the end, Armstrong decided not to incorporate the pandemic into the plot. This time, the characters’ habitual jetting around may seem even more exorbitant than usual.

The sequence at the Florence airport was filmed late in the shoot—an aberration. Armstrong prefers to film “Succession” in order. Although he begins the first day of production with a firm idea of where his characters will end up, their precise route is adjusted and refined along the way. In Florence, some dialogue was written on the spot, under the awning.

The dates of the airport shoot were dictated by location choices for the concluding episodes, which were to be set in the Tuscan countryside and around the Northern Italian lakes—landscapes of such loveliness that even the pitiless eye of Mark Mylod would have a hard time remaining jaundiced. At the Florence airport, Ferguson told me, “Quite honestly, I think every season Jesse has wanted to go to Italy. He also wanted a yacht the first season. So last season we got the yacht, and Italy is the second white whale.”

In Italy, Armstrong was showing a tentative degree of confidence that the season would achieve what he had hoped for it. At the airport, we went into a hangar and retired to what he referred to as his “office”: a solitary chair set up by a wall. “With any project, you go through waves of anxiety,” he told me. “I had moments of ‘Fuck, did we ever say that thing that we intended to say?’ ” He went on, “They say sometimes tennis players can see the ball quite big, and they feel like everything feels full of opportunity, and sometimes it will feel small, and nothing’s coming together. Sometimes you feel, ‘Oh, yes, I can do this , and now I can go there , and this sets up this .’ That sense of ‘I think I know what everyone’s thinking—I can see this room is full of all these people, and they all have their own perspectives, and I can feel them all.’ Then it feels full of possibility. I’m just wandering around the party, hearing what Gerri’s saying to Karl. That’s a fun feeling.”

For the scenes shot in Tuscany, Armstrong wanted to play with the E. M. Forster version of the region—or, at least, with the visual fantasies promulgated by the popular Merchant Ivory film adaptation of “ A Room with a View .” He said, “I just felt it was a fun thing that British people do—that relationship to Tuscany, and those British vibrations of quite complicated snobbery about an area that has a certain resonance of cultural value for the British.” Even if American viewers didn’t pick up on all the ways in which “Succession” smuggles observations about British class into the narrative, he said, they would respond to the depiction if it rang true.

Armstrong hadn’t had much time to himself since arriving in Florence, he said, though he had taken a walk from his hotel to visit the Palazzo Vecchio, which in the sixteenth century was the seat of Duke Cosimo I de’ Medici. With international tourism all but halted, the exquisite city, marked by monuments to the dynastic powers that held sway five hundred years ago, was quieter and emptier than it had been in decades. Armstrong joked, “It’s a little bit Logan Roy—‘Close Florence, I’m coming through.’ ”

After two days at the airport, the production moved south, to the Val d’Orcia. Hundreds of crew members were scattered around villas and in hotels in various small towns. Armstrong landed in Pienza, a hilltop settlement built according to Renaissance principles of town planning at the order of Pope Pius II, a scion of Sienese nobility. Pienza’s narrow pedestrian streets were scented with jasmine and pecorino, and its museums, former palazzi overlooking the valley, were empty. In the evening, the piping voices of a handful of Italian children playing in the town square echoed against the travertine façade of the cathedral. Then, when the clock struck eleven, a nationwide curfew began, and the town fell as silent as it would have been in the dark of a fifteenth-century night.

The first day in the Tuscan countryside, a scene from the penultimate episode was being shot, featuring Sarah Snook and Matthew Macfadyen as Shiv and Tom. The setting was Bagno Vignoni, an ancient spa settlement, and showed the couple seated at a café, then walking together around a sixteenth-century bathing pool in the center of the village. It was a successor scene, Armstrong told me, to their brutal picnic in the final episode of Season 2, in which Tom confesses to Shiv, “I wonder if the sad I’d be without you would be less than the sad I get from being with you.” Armstrong said, “I saw this as ‘What’s the next accommodation they will come to?’ It’s an intimate scene in which they either are frank with each other or appear to be trying to be frank with each other.” The scene also harked back to the Season 1 finale, set on the couple’s wedding night, in which Shiv belatedly tells Tom that she wants an open marriage, and ventures as close as she ever has to emotional honesty: “Love is, like, twenty-eight different things, and they all get lumped in together in this one sack, and there’s a lot of things in that sack—it needs to get emptied out. There’s fear, and jealousy, and revenge and control, and they all get wrapped up in really nice fucking wrapping paper.”

As the crew arranged the scene, readying extras and setting tables, Armstrong, leaning against a honey-colored wall, said, “That’s what’s interesting about the people in the show—hopefully, they are not incapable of honesty.” He went on, “Shiv is a passionate, driven, smart person, who I think occasionally gets glimpses of the way that her life could be integrated and whole and truthful. But they’re really hard to keep hold of, especially when they brush up against other people. And, like the other characters in the show, she hasn’t got very good facilities for compromise, or for taking into account other people’s feelings.” This was a moment, he said, in which his preferred Marxist lens—men and women make their own histories, but not the terms of their own making—proved useful as a way of situating the personal within the sociological. He observed, “We are all individuals with our own psychological makeup and impulses, and yet we find ourselves in vises of social and economic situations, which means that we are bent in and out of shape—and we’re bent out of shape by the psychologies of our families. So navigating the space between those—that you can act outside of your material interests, but will you?— that is a good area for where the conflict between human beings happens.”

As part of his background research for shooting in the area, Armstrong had been reading “ War in Val d’Orcia ,” the 1947 memoir of Iris Origo, the daughter of an American diplomat and Anglo-Irish aristocrat. Born in 1902, Origo, who became a biographer, was reared by her mother in a Medici palace in Florence, and married a member of the Italian nobility. In the twenties, the couple moved to La Foce, an estate in the Val d’Orcia. Origo’s memoir chronicles, in diary form, the effects on the region of the advent of the Second World War, during which Origo and her husband took in children who had been evacuated from the cities and also housed fifty British prisoners of war.

In reading the book, Armstrong had been struck—just as he had been after the table read of the “Succession” pilot, in November, 2016—by how quickly people adapt to altered conditions: a change in political circumstance; the onset of a pandemic; even the encroaching horrors of war. “There’s a moment when Mussolini is deposed, in 1943, and there’s a sense of hope—the Allies are coming, and it feels like it might be the day after tomorrow. But there’s still two more years of the war to go, and Iris Origo doesn’t know it,” he said. He had momentarily pulled down the face mask that covered his nose and mouth, in order to speak more clearly. “It’s just very human, that thing of adjusting yourself to a new position,” he went on. “Within seconds, the new world feels completely real and vivid, and you’re very quickly accommodated to it.” Then Armstrong raised his mask as he was called back to a video monitor, to watch another take. Snook and Macfadyen artfully interacted, with subtle variations in tone: more or less playful callousness on the part of Shiv, more or less submerged hurt and anger on the part of Tom. The characters moved and adjusted to their opulent constraints, in an evolving struggle whose conclusion—arriving in a future season—Armstrong had imagined but had yet to write. ♦

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Succession Yacht: Solandge Yacht

September 24, 2022, succession:.

Succession is an amazing show that we all love. It is a dark comedy on HBO that started in 2018. We are always wondering what will happen with the Roy family watching this show. Furthermore, you may notice the amazing yacht they use in the season two finale. Check out the Succession yacht below.

What Yacht Was Used In Succession?

The yacht used in the second season is the Solandge.

The yacht has a cost of 160 million dollars and has a capacity of 20 people. Moreover, the yacht is actually a whopping 200 feet long. The interior is to die for. Imagine having a pool, hot tub, and even a bar on the ocean while vacationing. Moreover, the family spent time on this amazing sea craft. Also, they definitely thoroughly enjoyed being on this festive boat. It is perfect for that family as there are many water toys attached. Some of the toys include paddleboards, wakeboards, jet skis, and even scuba diving equipment. In addition, the boat is not currently owned by anyone specific and can be chartered weekly or monthly. Enjoy and vacation on this amazing yacht for a whopping $1 million per week. Finally, would you like to be on this yacht?

Specifications:

Succession Yacht Price: $160 Million

Capacity: 20 People

Succession Yacht Interior: Hot tub, pool, many seating areas

Photos: Succession Yacht

In conclusion, I hope you enjoyed reading about the yacht from Succession. Furthermore, please leave your thoughts and comments below and on our socials. Finally, read some other articles like this one on our frontpage .

Lastly, which other celebrity yachts would you like to see on our site? Please leave the names of other celebrities that you would like to see on here. Check us out on Instagram too and like and follow. Please leave your thoughts on our Facebook, Twitter, or our Instagram in the comments of our posts.

The most spectacular yachts in film and TV

The glitz and glamour of superyachts makes them ideal stars for everything from box-office blockbusters to the latest Netflix drama...

Glass Onion: A Knives Out Mystery

Yacht: aquarius.

The 45 metre Mengi Yay motor yacht Aquarius makes an appearance in the opening of the trailer for Glass Onion: A Knives Out Mystery , the follow-up to the Acadamy Award-winning murder mystery Knives Out starring Daniel Craig. Delivered in 2016, the yacht can sleep up to 10 guests and eight crew across her three decks. Aquarius has a top speed of 15 knots that will no doubt be put to the test in Rian Johnson's sequel, which is set to be released on Netflix in December.

Triangle of Sadness

Yacht: christina o.

Dark comedy Triangle of Sadness follows a fashion model celebrity couple who are invited on board a superyacht cruise for the ultra-rich, but the vessel ends up sinking, leaving its guests and crew stranded on an island. The 99.15 metre classic superyacht Christina O is the star of the film, which suitably premiered at the 2022 Cannes Film Festival. Christina O was famously owned by Greek shipping magnate Aristotle Socrates Onassis who transformed her from an anti-submarine frigate to a luxury superyacht that has welcomed the likes of Winston Churchill, JF Kennedy, Marilyn Monroe and Frank Sinatra on board. Actor Woody Harrelson joins its star-studded guest list as he plays the role of the captain in the film.

Inventing Anna

Yacht: leight star.

The 42.67 metre motor yacht Leight Star was featured in the Netflix docudrama Inventing Anna, based on the true story of fraudster socialite Anna Delvey. The yacht was renamed Caprilla for the episode and sees protagonist Anna Sorokin stepping out of a Chris Craft tender and onto the swim platform to join her friends in Ibiza (before outstaying her welcome). Leight Star was built in 1984 by the American shipyard Sun State. Her top deck, which is used mostly for sun lounging, can double as a helipad for guests looking to arrive in style.

No Time to Die

Yacht: spirit 46.

A Spirit 46 sailing yacht takes a starring role in the James Bond film No Time to Die . The 14 metre sailing yacht features in the film, which catches up with Bond following his departure from active service. This is not the first time Spirit Yachts has collaborated with the Bond franchise. In 2006, the 16.4-metre sailing yacht Spirit featured heavily in Daniel Craig's first Bond film Casino Royale when it became the first sailing yacht to travel up Venice's Grand Canal in 300 years.

Yacht: Planet Nine

The 73 metre explorer yacht Planet Nine takes centre stage in Christopher Nolan’s time travelling blockbuster Tenet . Spanning seven countries, Tenet follows protagonist David Washington as he fights to ensure the survival of the whole world. Delivered in 2018, the ice-classed explorer Planet Nine features a large helicopter hangar and pair of superyacht elevators connecting all five decks. Elsewhere, the yacht boasts a panoramic observatory lounge, a boot room for heli-skiing activities and a cinema on the upper deck.

6 Underground

Yacht: kismet.

The 95.2 metre Lürssen superyacht Kismet plays a pivotal role in Michael Bay’s newly released Netflix debut 6 Underground . Starring Ryan Reynolds, 6 Underground sees a team of international operatives tasked with taking down a notorious dictator. The Espen Øino -designed superyacht is the setting for the climactic final scenes of the film which sees Kismet , the final stronghold of the dictator, dramatically blown up.

Yacht: Solandge

Lurssen’s 85.1 metre superyacht Solandge took a starring role in the second series of Sky Atlantic’s Succession . The climactic final episode, in which Brian Cox’s Logan Roy makes a life-changing decision, is based entirely on the yacht and showcases its first-class facilities. Scenes of the episode journeyed from Solandge’s massive indoor and outdoor gym on the main deck to the outdoor cinema and nightclub. Elsewhere, Solandge features a full dive centre, extensive spa with a sauna, steam room, massage room and beauty salon, as well as a generous swimming pool on the sun deck.

Murder Mystery

Yacht: sarastar.

The 60 metre Mondomarine superyacht Sarastar is the setting for Netflix film Murder Mystery . The action follows a stagnant married couple played by Adam Sandler and Jennifer Aniston who join a billionaire on board his family yacht. They are soon caught up in an Agatha Christie-style murder mystery on board and it doesn’t take long for the couple to become prime suspects.

Yacht: Turquoise

The 55.4 metre superyacht Turquoise stars in the Sky Atlantic drama Riviera . Set in the French Riviera, the series follows American art curator Georgina Clios, whose life is upended after her billionaire husband Constantine dies in a yacht accident. Turquoise was built by Turkish yard Turquoise Yachts in 2011 with an all-British design team behind her build: her exterior is the work of Ed Dubois with London studio H2 Yacht Design styling her lavish interiors, which can accommodate up to 12 guests and 13 crew.

Yacht: Haida 1929

Classic motor yacht Haida 1929 plays a starring role in Meryl Streep’s exuberant rendition of Money, Money, Money in the hit musical film Mamma Mia!. Built in 1929 , she is one of the oldest yachts still sailing today and offers guests a taste of yachting in the 1930s. She has had 12 owners in her lifetime and saw service in the Second World War and had long been admired by owner No 12 who extensively refitted this piece of maritime history over 16 months. In Mamma Mia! , Meryl Streep, Christine Baranski and Julie Walters are seen riding jet skis and drinking champagne in a dream world on board the superyacht.

The Wolf on Wall Street

M3 (previously Lady M ) played a crucial role in 2013 film The Wolf of Wall Street . When Jordan Belfort (Leonardo DiCaprio) hits the big time, he splashes out on the luxury yacht and names it Naomi after his second wife (as played by Margot Robbie). However, the film takes a disastrous turn when the superyacht sinks during a stormy passage between Porto Cervo and Capri — a scene that closely mirrors Belfort’s real-life yachting disaster in 1997. Directed by Martin Scorcese, The Wolf of Wall Street was one of the most successful movies of 2013, grossing more than $116 million at the box office.

Yacht: Aria I

Daniel Craig's recent turns as 007 brought a new generation of beautiful sailing yachts onto the big screen, the most notable of which being Aria I . This 56 metre steel schooner from Pruva Yachting starred in the 2012 film Skyfall as Chimera , the yacht which carried James Bond to villain Raoul Silva's island hideaway. Preparing the yacht for filming was an arduous process, including re-upholstering inside and out.

American Assasian

Yacht: itama 62.

Michael Keaton and Dylan O’Brien were the big names in the 2017 counter-terrorism thriller American Assassin , based on Vince Flynn’s 2010 novel of the same name, but the real star was surely the Itama 62. This 19 metre speedboat stole the show in a spectacular chase scene, which involved O’Brien jumping onto the moving yacht. Built in Italy as part of the Ferretti Group’s extensive range, the Itama 62 has a top speed of 40 knots thanks to twin MAN V12 engines and can accommodate up to six guests in three cabins.

Yacht: Usher

When US comedy series Entourage was given the Hollywood treatment in 2015 it was only fitting that the party-loving boys should be seen living the high life on a glamorous yacht. Delta Marine ’s 2007 launch Usher (formerly Mr Terrible ) took on a starring role by hosting a yacht party in the film’s opening scene, before lead character Vincent Chase (Adrian Grenier) embarks on a disastrous career directing movies.

Bonus entry: Argylle

Tender: sportjet 520.

This spy thriller is directed by Michael Vaughn, the mind behind the much-beloved action-comedy Kingsman . The plot follows Bryce Dallas Howard as author Elly Conway, as she learns that the plots of her best-selling espionage novels are starting to mirror the actions of a real-life spy organisation. The Williams SportJet 520 tender will no doubt feature in several high-octane chase scenes when the film premieres on 24 January 2024. Other big names include Henry Cavill (as the titular spy Argylle), Bryan Cranston and Dua Lipa.

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Top yachts in TV and Film that you could charter today

By Editorial Team | 28 November 2022 2023-01-03

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The opulence and glamour of superyachts make them the perfect platform for blockbuster movies and hit TV shows. From your all-time favorite films to unforgettable moments in award-winning Netflix dramas, the featured charter yachts add a sense of luxury, elegance and excitement to our screens.

Most yachts that appear on the big screen are privately-owned, with some also available to rent. Boasting lavish style and high-end sophistication, we have put together a selection of luxury charter yachts that have appeared in some of the most celebrated films and TV shows across the globe.

Read on to discover our top charter yacht picks that have graced our screens over the years and find out just how much they cost to charter.

Best charter yachts in film

Taking drama and luxury to the next level, superyachts used in films depict wealth, opulence and sophistication. Whether they are used as a lavish getaway vehicle, for romantic interludes in a scene, or for wild and wonderful parties, they add a sense of thrill to a film whenever they appear.

CHRISTINA O

Triangle of sadness.

Taking viewers on a whirlwind journey, Triangle of Sadness follows a model influencer couple who are invited on a luxury superyacht cruise, along with a rogues gallery of the filthy rich, in exchange for promoting it on social media, but when the cruise sinks it leaves all survivors trapped on an island with echoes of the Golding classic, Lord of the Flies .

One of the main stars of the show is the 99m (325ft) superyacht CHRISTINA O , an iconic vessel that started life in World War Two as a Canadian frigate, she then was purchased by Greek shipping magnate Aristotle Onassis in 1954, who transformed her into the most spectacular private yacht of her time.

CHRISTINA O is one of the most iconic motor yachts ever launched, best known for her grand interiors and unrivalled level of luxurious amenities.

The renowned vessel went on to host a wealth of illustrious guests, ranging from Marilyn Monroe and Frank Sinatra to John F Kennedy and Winston Churchill.

With oak and iroko paneling, book-lined shelves and sumptuous pale-colored settees, the overall look of the salon is reminiscent of an old English country manor. Whilst the teak floorboards serve as a reminder of being at sea, and fascinating artworks by Renoir, Le Corbusier and de Chirico contribute to the overall grandeur of the setting.

How much does it cost to charter?

Glass Onion: A Knives out Mystery

Starring the likes of Daniel Craig and Kate Hudson, the murder mystery film Glass Onion: A Knives Out Mystery follows a tech billionaire and his group of friends who embark on a luxurious getaway to his private Greek Island. When someone turns up dead, it is up to Detective Benoit Blanc (Daniel Craig) to solve the case.

Selected parts of the filming took place on the glamorous 45m (150ft) superyacht AQUARIUS which allowed viewers to see the ultra-sleek and modern motor yacht in action.

Primed for discerning charter guests, private yacht rental AQUARIUS offers the height of luxury living

Custom built in 2016, the yacht is primed for yacht charter vacations thanks to her array of sumptuous seating areas and expansive social areas onboard. Her generous deck spaces play host to a wide range of amenities including an outstanding full-beam beach club with a 3-way opening, a luxurious outdoor bar, a Jacuzzi and ample space for sun lounging and relaxing.

Murder Mystery

The hit comedy film, Murder Mystery sees a New York cop (Adam Sandler) and his wife, (Jennifer Aniston) on a European vacation to spice up their marriage but by pure chance, they get caught up in a murder investigation on a billionaires yacht.

Named ' MEDITERRANEAN QUEEN ' in the Netflix film, the 60m (197ft) superyacht SARASTAR is the luxurious yacht that debuted in the comedy back in 2019. Set around the idyllic coastlines of the Mediterranean , filming took place in the South of France and Italy so viewers got to witness plenty of breathtaking visuals of some popular yacht charter destinations. Among them are the superyacht hub of Monaco and the picture-perfect Italian harbor town of Portofino .

Superyacht SARASTAR embodies the exquisite design of Luca Dini and is an asset to the luxury charter market.

Delivered in 2017 by Italian shipyard Mondo Marine , super yacht charter SARASTAR boasts the most striking interiors that are simply made for the big screen. Offering guests an abundance of social and dining options, her additional onboard highlights include a helipad, an expansive beach blub and a fully equipped gym.

PLANET NINE

An award-winning science fiction action thriller, Tenet follows a Protagonist (David Washington) and his journey to save the entire world. The Christopher Nolan film stars the phenomenal 73m (240ft) explorer yacht PLANET NINE who was on the market for $101 million and is available to charter today.

Setting a new benchmark in her category, PLANET NINE is the ultimate expression of yachting capability, allowing guests to traverse to the remotest corners of the globe in pure luxury.

The very definition of a 'go-anywhere superyacht', PLANET NINE allows guests to discover the world in style

Built by Italian shipyard Admiral Yachts in 2018, the yacht is home to a large onboard cinema, a chic beach club and a 3000 square foot Owner's deck for the principal charter guest. Possessing plenty of garage space, the yacht is jam-packed with the latest water toys for hours of fun on the water. Heli-skiing, exploration, scuba diving or making the most of the ultra-modern spa are a favorite among charter guests who have rented the spectacular yacht PLANET NINE.

The Entourage

Starring an array of A-list stars such as Mark Wahlberg, Jessica Alba, Liam Neesen and the world's sixth wealthiest person, Warren Buffet it is safe to say The Entourage is full of glitz and glamor. The comedy film follows movie star Vincent Chase (Adrian Grenier) who is offered a lead role in a movie but only agrees to it on one condition, that he is allowed to direct it.

The epitome of a luxurious lifestyle, the 46m (154ft) superyacht USHER offers the perfect center stage for Vincent Chase and co.'s iconic parties when taking time out from tackling Hollywood.

Luxury charter yacht USHER used in film Entourage

Superyacht USHER offers everything guests need for a comfortable, fun-filled luxury charter vacation

Boasting state-of-the-art entertainment systems like an 80-inch television in her main salon, an elevator, a sundeck Jacuzzi and a lavish open-air bar, the motor yacht was the ideal choice to host the film stars and their multiple party scenes that were shot during the making of the film.

The yacht adaptly lives up to the 'Dream Large, Live Larger' motto that the movie trailer celebrates, showcasing a delightful array of light-filled spaces onboard where guests can kick back, relax, socialize and entertain. There is also a fishing cockpit and a vast beach platform with a hydraulically operated swim ladder, making access to tropical waters as easy as can be.

6 Underground

In the gripping action thriller, 6 Underground , six individuals from across the globe are selected for a bold and bloody mission to take down a brutal dictator. Directed by the multi-award-winning director Michael Bay and budgeted at $150 million, 6 Underground is one of Netflix's priciest features.

Allowing viewers a closer look at the 95m (312ft) superyacht KISMET , the yacht was hired for a week during filming and was the prime platform for some of the most exciting and action-packed scenes in the movie. One of the most memorable is an explosive scene where she gets blown up (with the help of CGI software, of course).

CGI explosive shot of superyacht KISMET being blown up in Netflix film 6 Underground

Superyacht KISMET was designed to be one of the most spectacular luxury yachts available for charter

Delivered in 2014 by one of the worlds leading shipyards for large luxury yacht building Lürssen , she is the ultimate entertainment vessel for welcoming friends and family. Onboard highlights include her two helicopter pads, a private observation platform with an outdoor bed created for stargazing and a dazzling sundeck with a swimming pool, jacuzzi and plenty of lounge space to relax.

Best charter yachts in TV

Adding wealth, status and luxury to any TV drama, over the recent years there have been many yacht appearances that have made viewers want to know and see more about the luxurious vessels they see on their TV screen. From the yachts used in the popular maritime show Below Deck to the opulent superyachts used in multiple Netflix series such as The Crown and Inventing Anna, read on to discover what charter yacht you could next enjoy a vacation on.

couple in Inventing Anna Netflix Drama, onboard luxurious superyacht

The phenomenal dark comedy series Succession follows the Logan Family who is known for controlling the biggest media and entertainment company in the world but everything begins to change when their father steps down from the business causing huge amounts of drama.

The final episode of season two of the hit Sky Atlantic show is based onboard the highly acclaimed 85m (279ft) superyacht SOLANGE , allowing viewers to admire her opulent design and incredibly modern interiors. The very pinnacle of luxury, this yacht is head-turning for sure.

Superyacht SOLANDGE was created by the industry's leading designers alongside highly experienced owners to be the ultimate charter yacht

A highly sought-after charter yacht, the Lürssen vessel is among the largest and most luxurious on the market. Home to a multitude of versatile outdoor living, dining and entertainment areas, the yacht is perfect for sitting back, socializing and entertaining guests. Her panoramic upper deck plays host to a chic beach club area with a customized dance floor, Jacuzzi, and wet bar, whilst the bridge deck is ideal for unwinding and enjoying drinks alfresco style.

LEIGHT STAR

Inventing anna.

Inspired by a true story, the Netflix show Inventing Anna follows Anna Sorokin, a Russian fraudster who fools New York's elite by posing as socialite Anna Delvey, a German heiress dripping in designer jewelry, handbags and expensive sunglasses.

Adding to the glitz and the glamor is the 44m (144ft) superyacht LEIGHT STAR who made her glossy debut appearance on the thrilling docudrama. A number of scenes took place on board this luxury yacht which was renamed ‘ CAPRILLA ’ in the gripping nine-episode drama.

LEIGHT STAR is the prime candidate for anyone looking for a taste of the superyacht lifestyle

A fabulous charter option for indoor/outdoor living, the yacht is filled with an array of light and bright spaces that are instantly inviting from the moment you step onboard. Offering world-class amenities coupled with an overflowing toy box full of the latest water sports gear, there is something onboard that is sure to keep everyone entertained.

Netflix's extremely popular royal drama The Crown has grabbed viewers' attention since 2016 as the show follows Queen Elizabeth II's reign intensely as well as all the well-renowned events that shaped the second half of the twentieth century.

As the audience reaches season 5 of the show, they witness the royals on various voyages onboard luxury superyachts, one of them being the 73m (239ft) superyacht TITANIA used as a replica of the elegant Codecasa yacht JONIKAL (renamed BASH) . The charter yacht provides the ideal backdrop for the iconic scenes of Princess Diana and Dodi Fayed, the son of the yacht's former owner, when the couple took a vacation around the French Riviera in 1997, mere days before their tragic deaths in Paris on 31 August.

Superyacht TITANIA has everything a discerning traveler could desire on a private yacht charter

Putting the priority on indoor-outdoor living, super yacht charter TITANIA is jam-packed with a wealth of amenities and is extremely versatile when it comes to dining and entertaining. Guests will adore the expansive sundeck which is primed perfectly for gazing at the surrounding panoramic views. Additional onboard highlights include her premium wellness facilities, including a sauna, massage room and beauty spa, an outstanding winter garden and a full-beam observation lounge.

If you are interested in reading about all the yachts featured in the popular royal drama series, have a read of our exclusive article: Take a peek inside the luxury yachts starring in Netflix's The Crown .

The 10-part Sky Atlantic drama series Riviera is set in the alluring Côte d'Azur on the southeastern coast of France . Packed with action, thrills and luxurious lifestyles, the show follows Georgina Cilos (Julia Stiles) and her life after her husband, an extremely powerful and wealthy banker dies in a yacht accident.

The starring yacht is of course the 55m (182ft) motor yacht TURQUOISE which brims with a fantastic array of social and dining areas, both inside and out, making her the ideal yacht for relaxing and entertaining whilst on charter.

Following her recent refit in 2019 motor yacht TURQUOISE is now a charter-friendly superyacht with wide appeal.

Launched by Turkish shipyard, Turquoise yachts in 2011, this vessel is the perfect platform for capturing the glitz and glamor of the hit series. Onboard highlights include her beach-style outdoor cinema, her yoga and Pilates accessories and her expansive sky lounge, complete with a grand piano to create the perfect ambiance onboard.

PARSIFAL III

Below deck sailing yacht.

The Below Deck Sailing Yacht is an American reality television series that premiered on Bravo on February 3, 2020. This is the first time the Below Deck franchise branched away from gleaming motor yachts , and it proved to be a great success, with the various weather issues that sailing yachts have to contend with adding even more drama and excitement to the show.

All three series showcased the remarkable 54m (177ft) sailing yacht PARSIFAL III in action, taking guests to some of the most beautiful islands in Greece in season 1, the sparkling waters of Croatia in season 2, and in season 3, she cruised the beautiful Balearic island of Menorca .

Sailing yacht on Below Deck, Parsifall III

Featuring a dynamic layout furnished to the highest possible standard, PARSIFAL III is one of the most refined sailing yachts available for charter

Capable of delivering an outstanding sailing experience, the Perini Navi yacht is a majestic sight at sea. Combining classic looks with superb modern amenities, there is an abundance of space onboard for guests to kick back, relax and socialize. From her expansive sunbathing areas to her multiple alfresco dining opportunities, guests will adore her luxurious interiors and warm, welcoming atmosphere.

If you are interested in reading about all the yachts featured in any Below Deck Series, have a read of our exclusive article: Below Deck yacht names revealed - and how much it costs to rent the celebrity superyachts.

Need more information?

Helicopter flying next to luxury charter yacht used in films

Interested in chartering a famous superyacht from the movies? Please contact a recommended charter broker who can provide you with personalized information and advice concerning your vacation, creating an itinerary that perfectly caters to your individual needs.

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CHARTER YACHTS FEATURED IN THIS ARTICLE

99m Canadian Vickers 1943 / 2020

95m Lurssen 2014

85m Lurssen 2013 / 2022

73m Admiral Yachts 2018

73m Lurssen 2006 / 2020

60m Mondo Marine 2017

54m Perini Navi 2005 / 2012

47m Delta Marine 2007 / 2019

46m Mengi-Yay 2016

44m Palatka Shipbuilding Inc. 1984 / 2009

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Best yachts in film
Best yachts in TV
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Which yacht stars in the TV series 'Succession'?
Solandge, the yacht used in Succession, costs $1million a week to hire
All you need to know about SOLANDGE, the yacht from ‘Succession
The yacht that featured in HBO's Succession can be rented for £850K
Which yacht stars in the TV series 'Succession'?
Who Owns the ‘Succession’ Yacht? Info on the ‘Solandge’ Vessel From the

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All you need to know about SOLANDGE, the yacht from 'Succession'
Construction. Luxury yacht SOLANDGE measures 85.1m/279.2ft and was launched from the Lurssen shipyard in Germany in 2013 before going on to win the Exterior Design category at the Monaco Yacht Show Awards 2014, as well as making it to the finals at three other awards shows that same year.Her exterior styling is the work of renowned designer Espen Oeino, while the interiors from Rodriguez ...
Solandge, the yacht used in Succession, costs $1million a week to hire
Solandge is a 85.1-meter luxury superyacht that was used in the Succession Season 2 finale on HBO. It costs $1 million a week to charter and was sold for €155 million in 2017. It has a granite, marble and wood interior, a sauna, a pool, and a gym.
Which yacht stars in the TV series 'Succession'?
SOLANDGE is a 279ft (85m) charter yacht that was the setting for the finale of season 2 of the comedy-drama Succession. The yacht features a sleek design, a spa, a pool and a wine cellar, and is owned by the Roy family in the show. Learn more about renting SOLANDGE and other luxury megayachts.
Who Owns the 'Succession' Yacht? Info on the 'Solandge' Vessel From the
The Solandge found a new owner in March 2017, after being listed for sale with Moran Yacht & Ship for 155,000,000 euros (about $180 million). However, the identity of the buyer hasn't been ...
What Superyacht Was Used in Succession? (Get The Answer Here!)
The superyacht used in the film Succession was a 112-meter long yacht named Lady S. This custom-built superyacht is owned by Andrey Melnichenko, a Russian billionaire and was built in 2018 by the German shipyard Blohm + Voss in Hamburg.
What Yacht Was Used in Succession? (The Answer Here)
The yacht used in the highly acclaimed HBO show Succession is a 230-foot-long Feadship. This luxurious yacht is fit for a king, featuring five decks and 10,000 square feet of living space. From its jacuzzi to its gym and spa, this yacht has all the amenities a wealthy family like the Roys could ask for.
You Too Can Charter the Yacht on Succession
You Too Can Charter the Yacht on Succession. The fourth, and final, season of HBO's Succession has just started, and it picks up where season three ended, with some of the most crucial scenes taking place on a 279-foot megayacht cruising in the Adriatic not far from Dubrovnik, Croatia. At that time, the fictional Roy family, owners of the ...
Season 2 finale of Succession filmed on board Mega Yacht Solandge
Mega yacht AMADEA for sale and to attend Monaco Yacht Show 2019 Discover the enchanting Greece aboard luxury charter yacht ANDILIS and enjoy a 10% discount Florida charter yacht REAL SUMMERTIME offering 10% discount
Let's Talk About the Yacht Clothes on "Succession"
October 14, 2019. Roman Roy (Kieran Culkin), who, unlike some of the other characters in "Succession," almost never changes his costume, stands in the main dining room of a yacht in the show ...
How the Set Designer of 'Succession' Brought the Show to Life
Behind the scenes of HBO hit 'Succession': How set designer Stephen H. Carter used a $145 million Hamptons mansion and a yacht in Croatia to bring the billionaire characters' lifestyle to the ...
'Succession' Season 4, Episode 3 Recap: 'Connor's Wedding'
Of the three catastrophic weddings on the show—preceded by Tom and Shiv's and Lady Caroline and Peter Munion's — theirs is by far the most romantic. • Kendall: "We'll get a funeral ...
This Is Not for Tears
List of episodes. " This Is Not for Tears " is the tenth and final episode of the second season of the HBO satirical comedy-drama television series Succession, and the 20th overall. It was written by series creator Jesse Armstrong and directed by Mark Mylod, and aired on October 13, 2019. In the episode, the Roys attempt to decide who to ...
'Succession' Episode 3: Filming the Boat Scene in 1 Take
How 'Succession' Trapped the Roy Family in a 'VIP Room' of Grief in Episode 3. Director Mark Mylod discusses turning a sadistic camera on the Roy siblings as they grapple with complex ...
Succession filming locations: Inside the world of the Roys
Hurrah—the Roys are back with more family drama, insane wealth, and opulent Succession filming locations! Season four of the hit HBO show is currently airing, and while we've all been pretty pre-occupied with *that* plot development in episode 3, the transatlantic series once again sees the scheming employees of Waystar Royco, and the Roy family themselves, traversing the world—from iconic ...
Succession Season 2 Finale Recap: Who Did Logan Throw Overboard?
Succession's Roy family wrapped up Season 2 by hashing out their issues aboard a luxury yacht… and one key character went down with the ship. Sunday's finale starts back in D.C., with a ...
Where was 'Succession' filmed? The locations used from seasons one to
In sharp contrast, the season ends with the Roys amid blue skies and seas in the Aegean Sea and Croatia. This was filmed on the island of Korcula, both on the 279-foot charter yacht Solandge and in the Old Town, taking in the 15th-century St Mark's Cathedral and shoreside restaurant Cupido. Pinterest. Getty Images.
On "Succession," Everything Is Up in the Air
The setting: a yacht in New York Harbor decked with red-white-and-blue bunting, providing free media hoopla for Connor's Presidential campaign, a one-per-cent bid in every sense of the term.
What happened in the 'Succession' season 2 finale?
The Succession season 2 finale, entitled "This is Not for Tears," finds the Roy family and its Waystar Royco cohorts on a—what else?—luxury yacht strategizing which member of the clan would be offered up as a "blood sacrifice" to take the fall for the cruise scandal ahead of the shareholders' meeting. Would it be Logan himself, like the ...
The Real C.E.O. of "Succession"
The Real C.E.O. of "Succession". How the writer Jesse Armstrong keeps the billionaire Roy family trapped in its gilded cage. Armstrong says of the Roys, "To be excluded from the flame of ...
Succession Yacht: Solandge Yacht
Learn about the Solandge, the 200-foot yacht used in the second season of Succession, a dark comedy on HBO. The yacht has a cost of 160 million dollars, a capacity of 20 people, and a whopping 200-foot interior with a pool, hot tub, and bar.
Yachts in TV and film: Glass Onion, Tenet and Argylle
Succession Yacht: Solandge Lurssen's 85.1 metre superyacht Solandge took a starring role in the second series of Sky Atlantic's Succession.The climactic final episode, in which Brian Cox's Logan Roy makes a life-changing decision, is based entirely on the yacht and showcases its first-class facilities.
Top yachts used in TV and Film that you could charter today
From the yachts used in the popular maritime show Below Deck to the opulent superyachts used in multiple Netflix series such as ... The phenomenal dark comedy series Succession follows the Logan Family who is known for controlling the biggest media and entertainment company in the world but everything begins to change when their father steps ...

Solandge, the yacht used in Succession, costs $1million a week to hire

Solandge was the yacht used in the Succession Season 2 finale

You, Too, Can Charter the ‘Succession’ Yacht…for $1.1 Million a Week

Who owns the ‘Succession’ yacht?

How do you rent the ‘Succession’ yacht?

What Yacht Was Used in Succession? (The Answer Here)

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The Show Succession

The Roy Family Yacht

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Where was ‘Succession’ filmed?

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