Succession Recap: My Dad Told Me To

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The media industry, you may have heard, is a precarious place to make ones career. The digital advertising landscape has been fully devoured by the twin powers of Google and Facebook, private equity firms have made a cottage industry of stripping publications for spare parts, and venture capital has (mostly) caught on that the news business, at its most profitable, isnt going to get you 10x returns. Seemingly every other week another site or publisher some of which you grew up reading is set to be shuttered.

Enter Succession. Its no secret that Media Twitter, the loose conglomerate of writers and editors and readers that make up the most insufferable corner of the internet, is enamored with the HBO drama, but its not because the show is about the industry. Waystar Royco, the corporation the Roy family owns, is a media company, sure, but it could just as well be an oil company for all the characters care; the money, not the news business, is the animating force. But on Sunday night, Succession took a turn; suddenly it was very much about the media. Its depiction was painfully accurate.

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In the shows first season, occasionally wayward oldest son Kendall sticks his neck out to close what he believes is a bold business decision: purchasing Vaulter, a digital media company that splits the easily parodied distance between BuzzFeed and Vice. Fast forward a season, and Waystar Royco is against the ropes and looking to cut costs: How many skulls? is a question Tom, the new head of the companys news decision, would very much like answered. The bigger the number, the better. Quickly, Kendalls prized deal is on the chopping block.

Mass layoffs are often a surprise, and usually seem short-sighted. Succession, then, felt like a sort of wish fulfillment, if your wish is to see your worst professional fears confirmed and dramatized for the screen. If everyones sneaking suspicion is that people at the top of the chain make decisions not based on business savvy or a long-term vision, but instead capricious, self-serving sprints toward power, then Succession did an excellent job of making that feel real for media professionals, down to the inclusion of Chartbeat what editors look at all day to see how their stories are performing and oft-repeated phrases like Facebook changed the algorithm. It was as if the screenplay was cobbled together from leaked Slack chats.

Kendall, still dead-eyed and funneling cocaine, is a broken man. However, in his muted, pathetically humbled state, hes never been more useful to his father Logan. He loses the argument to keep Vaulter on the company roster, despite a spirited debate. However, once the decision is made, he goes about dismantling the company with a grim, straightforward satisfaction. Hes more brutal than he has to be (and gets more spit in the face for his efforts than your typical corporate raider), wringing everything he can from the company and knowingly torching any personal reputation in the process. Nothing matters more, it seems, than impressing his father. When the deed is done, and Vaulters young staff has cleared out their desks (except for the weed and food verticals, and the associated interns), hes rewarded with a seat in his fathers office. He takes his place with the energy of a beaten lap dog.

There was no indication in last weeks premiere that Succession was interested in holding back any plot in order to have a stately second season. This episode proved that the pace is more breakneck than ever. Shiv is still the heir apparent to Logans throne, and adapting well to the role. Despite a potential White House Chief of Staff job on the horizon, she burns her day job as a political consultant almost immediately. Theres no waffling, just action. It leaves Tom, her new husband, watery-eyed at the prospect that she wont simply make him the CEO of the company after all. Its touching, in retrospect, to think that Tom has held on to that aspiration for their entire relationship, despite overwhelming evidence that he would never climb to the top of the Roy ladder. Regardless, Shiv crushes his dream in a moments notice, refusing to acknowledge his obvious surprise and hurt.

Similarly, Roman has also held on to improbable designs for the CEO role, despite moving through the world in a state of dazed, profane confusion. Hes responsible for the shuttering of Vaulter, but doesnt have the first idea of how to go about closing down a publication; he knows to throw a dinner party, but has no idea how to interact with anyone for more than a 15-second burst. He tells Shiv, stupidly, that he believes himself to be next in line for the big job, not knowing that his fate, for now, has already been sealed.

For an episode that moved fast and with the shows signature dedication to illustrating the creativity of cruelty, Cousin Greg was once again the sole ray of lightheartedness. The hapless, gangly scion is looking for an apartment now, and having some trouble finding a place in the Manhattan housing market with enough storage space for him. Of course, hes eventually gifted a multimillion-dollar condo/Kendall party location, and fails to stand up for being against racism when he begins a job on the shows Fox News stand-in. Even the good ones turn out to be disappointments.

Previously: A Better Plan

A Killer Invades an Eighties Summer Camp in American Horror Story: 1984 Trailer

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A group of counselors at a summer camp find themselves confronted with a killer in the trailer for American Horror Story: 1984. The ninth season of Ryan Murphys American Horror Story series premieres September 18th on FX.

Set in you guessed it 1984, the latest installment of the horror anthology is an homage to Eighties slasher flicks like the Friday the 13th franchise. The new series stars AHS regulars Emma Roberts, Billy Lourd, John Carroll Lynch, Leslie Grossman and Cody Fern as counselors who venture to the woodsy, lakeside camp to make a quick buck, but soon find themselves confronted with dead bodies in the road, a suspicious chef, an escapee from a psychiatric hospital and a knife-wielding slasher on the loose.

In addition to the returning cast, Murphy also brought on two of his recurrent actors, Matthew Morrison(Glee) and Angelica Ross (Pose), in main roles, while Olympic freestyle skier Gus Kenworthy was cast as the boyfriend to Roberts character. Noted AHSstars Sarah Paulson, Evan Peters, and Billy Eichner will not be returning this season.

Flashback: The Beverly Hills 90210 Gang Mashes Up Neil Sedaka With Robert Palmer

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Unlike many teen shows of its era, Beverly Hills 90210 never had an episode where the gang formed a band. But in the critical second-season episode Wildfire that introduced the agent of chaos known as Emily Valentine, there was a talent show in which the power trio of Brenda Walsh, Kelly Taylor, and Donna Martin dressed up like Robert Palmers video backup singers to perform Neil Sedakas 1962 hit Breaking Up Is Hard to Do. The whole thing is even weirder than it sounds, but you can see the video right here.

For some context, the episode takes place during the first day of school after a summer break that everyone spent at the Beverly Hills Beach Club. A new girl name Emily Valentine catches everyones eye by pulling into the parking lot on a motorcycle with a guitar strapped to her back. Brenda and Dylan are on a break after her pregnancy scare earlier in the season, so Dylan asks her out. He doesnt realize that Brandon is also interested in this mysterious newcomer. Both eventually take her out on dates, not realizing that shes completely insane and will wreak havoc in their lives for years to come.

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Meanwhile, David Silver informs the listeners of his radio show that some bizarre ceremony known as Hello Day is going to take place later that week. (The existence of this radio station begs many questions: Do high schools really have radio shows? Isnt everyone in class all day? How do they listen to it? Isnt David in class too? How does he have time to DJ it?) Donna, Kelly and Brenda decide to perform at Hello Day, but cant think of a song. Donnas idea that they sing an Addicted to Love parody called Addicted to Sex is rightly dismissed as wildly inappropriate. Emily Valentine then steps forward with the joke they do Addicted to Clothes. In the end, Emily sings Breaking Up Is Hard to Do at Hello Day while Donna, Brenda, and Kelly dance and sing in unison, Addicted to Lovestyle. The latter performance looked like it required a lot of rehearsal and does not seem like something the coolest kids in school would spend their time doing, but the world of Beverly Hills 90210 was a weird one.

Were resurrecting this vintage clip because 90210 came back on the air this week as a Curb Your Enthusiasmstyle comedy where the cast plays heightened versions of themselves trying to reboot Beverly Hills 90210. Emily Valentine didnt appear in the first episode, but there was a quick shot of her in an upcoming episode. If were lucky, theyll sing another song with her. The Neal Sedaka catalog is vast, so they have a lot of choices.

Blinded by the Light: Bruces Music Is a Gift for a British-Pakistani Teen

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For some people, Bruce Springsteen doesnt just write lyrics he sings words to live by. Thats the case for Javed (dynamite newcomer Viveik Kalra), a no-hope British-Pakistani teen feeling the financial squeeze of Thatcherism in 1987 Luton. Then he hears Springsteen for the first time, and the words of Dancing in the Dark jump out of his headphones and into his life. Hes exhilarated. Look for this exuberant gift of a movie to hit you the same way.

Directed by Gurinder Chadha (Bend It Like Beckham) from a memoir by the Javed-like Springsteen fan Sarfraz Manzoor, Blinded by the Light is a joyous antidote to cynicism. Cynics, of course, will hate it. At first, Manzoor himself was a Springsteen skeptic, thinking of the Boss as the guy who makes millions out of pretending to be working class. But the pull of the music was irresistible for a boy battered by loneliness and alienation.

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Chadha, who wrote the script with her husband Paul Mayeda-Burges and Manzoor himself, is adept at laying the groundwork for why this kid from the mean streets of Luton he called his memoir Greetings From Bury Park was a natural fit with the bandana-wearing artist who dubbed his first album Greetings from Asbury Park, N.J.Chadha doesnt gloss over the darkness at the edge of town in the form of skinhead bullying and the anti-immigrant nationalism that raged then as it does now with the rise of hate-mongering. Its brutal intolerance and the need to transcend it that made Javed and Bruce kindred spirits.

And so we watch Javed, scribbling notes and attempts at poetry in his journal, speak Springsteen like his personal gospel, making him feel born to run against the strict rules of his wage-slave father Malik (a first-rate Kulvinder Ghir), devastated after being laid off by the local GM plant where hes worked for 16 years. Maliks son, refusing to go gentle into that bleak night, lives by the resistance of Thunder Road Its a town full of losers/Im pulling out of here to win.

By necessity, Javed develops his own support system. At school, he discovers a teacher, Ms. Clay (Hayley Atwell), who inspires without condescending to him. In Eliza (Nell Williams), he finds a girl to set his pulse racing and share his dreams. In Roops (a livewire Aaron Phagura), he finds a friend who knows just what Javed is missing. Its Roops who gives Javed that cassette of Born in the USA and lets the music work its magic. Javed, Roops, and Eliza literally dance in the streets with Springsteen lyrics popping up on screen to create a rock fantasia that also stands as a slashing rebuke to racism. Sure its cornball, but Chadha revels in it. You will, too, as the movie becomes an irresistible blast of pure feeling. Is the music of Springsteen, who gave the film 17 songs and his blessing, really a direct line to all thats true in this shitty world? Go ahead and argue. But from Thatchers England to Trumps America, it sure as hell couldnt hurt.

Mindhunter Season 2: A Killer Instinct Slightly Softened

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This post contains full spoilers for Mindhunter Season Two, which Netflix released on Friday.

Seems to me, everything you know about serial killers has been gleaned from the ones whove been caught, convicted murderer Ed Kemper (Cameron Britton) tells Mindhunter heroes Holden Ford (Jonathan Groff) and Bill Tench (Holt McCallany) midway through the Netflix dramas second season. Kemper is trying to insert himself into one of Ford and Tenchs ongoing investigations, but the line also plays as something of a meta comment on Mindhunter Season One. In that original batch of episodes, inspired by the pioneering real-life work of John E. Douglas that helped invent the science of criminal profiling, Ford and Tench assisted in a few active cases. Mostly, though, they looked backwards by chatting up incarcerated monsters like Kemper and Richard Speck to learn what they could about catching future ones. It was a crime procedural about the invention of the procedure itself by a trio of wary allies: unstable genius Ford, skeptical veteran agent Tench, and civilian psychiatrist Wendy Carr (Anna Torv).

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The shows first season, which debuted nearly two years ago, had the benefit of freshness, both in its own approach and the one being developed by Ford, Tench, and Carr. Prestige TV has been overflowing with serial-killer drama over the last few decades, most of them with the same shared tics, fetishes, and predilection for celebrating the grisliness of it all. By going back to criminal profilings earliest day, and by focusing on Ford and Tenchs conversations with killers who were (mostly) no longer a threat to anyone, Mindhunter was able to strip the genre of its schlockiest elements and make the subject matter interesting and scary in a way it hasnt been in a long time.

This belated second season doesnt have that novelty going for it. Though we see Ford, Tench, Carr, and less respected team member Gregg Smith (Joe Tuttle) conducting interviews with old killers to help expand and perfect the science, the basics are already well established. So Season Two with a new writing team and a remarkable trio of directors in David Fincher, Andrew Dominik, and Carl Franklin tries to expand its approach in a few ways. First, it puts the teams theories into more extended practice by having Ford help investigate the Atlanta Child Murders, a gruesome series of violent abductions of African-American kids that played out in real life from 1979-81. And second, it attempts to make the work more personal to the other members of the team by giving Tench and Carr subplots that draw harsh parallels between their work and home lives.

Its an understandable approach. Season One had already dealt extensively with the emotional toll the work takes on Ford. He opens this season in a mental hospital coping with the trauma of his most recent meeting with Kemper, but is more or less on the rails after that. (He continues his habit of offending most of the people he meets particularly those in power but thats something you get even when hes completely healthy.) That original batch of episodes was so tilted towards Ford, with Carr and especially Tench largely used as foils to his erratic brilliance, that its easy to understand the creative team wanting to flesh out the other two leads and give Torv and McCallany more to do. But the results are mixed.

Tench spends much of the season focusing on his unraveling family, after learning that his son Brian (Zachary Scott Ross) was present when several older kids unwittingly killed a toddler and that Brian then suggested they crucify the boy. (It was meant to try to revive the child, Christ-style, but resembles the kinds of horrific tableaux that Tench has come to know so well through work.) This not only leaves him frequently absent from work, but makes him distracted and suggestible when hes there. During the interview with Charles Manson, for instance, he loses his temper thinking about sociopaths (like Manson, and possibly like the older boys) who manipulate others into participating in despicable acts. Yet the work keeps him so busy that his wife Nancy (Stacey Roca) feels like hes barely helping at all through this crisis.

Carr, meanwhile, is frustrated that Ford and Tench are on the road so often, rather than helping her codify and expand their research. While they work cases, shes stuck in the Quantico basement and in the closet, since her sexuality is professionally unacceptable. (And not that far removed historically from being treated as a mental health disorder by her own field of expertise.) She starts a new relationship with bartender Kat (Lauren Glazier), and is able to use a story of a past affair with a woman which Gregg and the others assume she invented on the spot to try to bond with a gay man who recruited a serial killers victims. But she and Kat both have emotional walls that are hard to take down, and in the meantime Wendy has to pose as straight at work, and fend off many unwanted male advances without drawing attention to herself.

The Carr story is the more successful of the two, even if its easy to feel as frustrated as Wendy herself that shes so marginalized in this years stories. (Right after she develops a taste for interviewing killers in Ford and Tenchs absence, shes ordered to stay back at Quantico to focus on the bigger picture.) Torv nimbly pivots around the various layers of Carrs work and home personalities, and the link between the two feels more natural, particularly when Wendy dumps Kat in a fit of self-loathing over how Wendy herself has to pretend to be something shes not around the men in her life.

McCallany is terrific at portraying how helpless and afraid the big, strong, and seemingly unflappable Tench becomes over the course of the season. But the crisis with Brian feels way too manufactured, particularly when contrasted with the very real events being dramatized down in Atlanta. Its the kind of arc lots of procedurals resort to in order to create emotional stakes for the characters and the audience. But its hard to pull off gracefully, and the shifts between what Bill and Nancy are dealing with and what Bill and Holden are doing farther south usually feel jarring, as if the channel temporarily changed to some other series McCallany is also starring in. (The arcs concluding scene, where Tench returns from Atlanta to find his wife and son have moved out and taken all their possessions, is a familiar one from antihero dramas about various professions, but particularly cops.)

Unsurprisingly, Season Two functions best when it focuses on the job and the complicated racial and political dynamics at work down in Atlanta. Its to Fords credit that, when hes introduced to a few of the victims mothers under the pretense of what he thought was a date, he instantly wants to help. But his professional tunnel vision makes it difficult for him to understand why city officials dont want him involved (to risk publicizing a predator), nor later why so many of the locals are upset that he focused his attentions on black suspects. The season goes out of its way to establish how he develops that criminal profile then smartly lets African-American colleague Jim Barney (Albert Jones) point out the flaws in his logic even as it makes clear that it is just coming across as another case of racial profiling to this community.

The season ends, as the case did in real life, on a deeply frustrating note: Wannabe music producer Wayne Williams (Christopher Livingston) appears to be responsible for many of the child murders, but is only charged with two adult killings, and the investigations are shut down before the families can get any closure. Fords superiors celebrate it as a huge victory for their new scientific approach to serial murders, even as he doesnt feel especially thrilled about any of it. Like Finchers Zodiac, its a potent, depressing reminder of how little we can know even when we have so much information in front of us.

On the whole, this season feels like a transitional one for the show (assuming it doesnt become the latest victim of Netflixs new Do we really need more than two seasons of anything? approach). Dennis Rader (Sonny Valicenti), the BTK killer, continues to lurk in the background, mostly appearing in pre-credits teasers that promise his path will eventually cross our heroes, but that will have to wait for at least another year. And even the Atlanta case doesnt seem like tremendous proof of the teams methods, since its old-fashioned stakeout work that introduces them to Williams.

The series continues to look amazing and feel unnerving throughout. But if we keep following this story deeper into the techniques that Ford, Tench, and Carr are developing, Mindhunter is eventually going to land in the same narrative territory already covered extensively by all the movies and TV shows inspired by the real version of this work. While it mostly hangs together for now, there are already more signs of strain than there were back in 2017.

Some other thoughts:

* There is typecasting, and then there is Justified alum Damon Herriman playing Charles Manson in two different high-profile projects this summer. Herrimans in Once Upon a Time in Hollywood so briefly that you might not recognize him as the same guy in both Quentin Tarantinos film and this seasons fifth episode. But if you do realize that the former Dewey Crowe is both Mansons, it becomes an amusing and unavoidable distraction from the scene where Tench loses his temper with the infamous cult leader.

* Also in the distracting casting category, but only at first: Michael Cerveris plays Tench and Fords new boss Ted Gunn, and periodically shares scenes with his former Fringe co-star Anna Torv. Gunn becomes enough of a character and a rather large departure from his Fringe role as the Observer that it mostly stops being weird seeing the two of them together in another show about the FBI.

* Ed Kemper was the breakout character of Season One, and many shows would contort themselves this way and that to have Ford continually return to seek new insight from the guy. Instead, Mindhunter has the restraint to have him appear only once, and mainly to illustrate the difference between those who do their own killing and those like Manson who manipulate others into doing it.

The American Military Is Put Under a Microscope in The Kill Team Trailer

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A24 released the trailer for Dan KrausssThe Kill Team Tuesday. The film stars Nat Wolff and Alexander Skarsgrd and is based on the real events that inspired Krausss 2013 documentary of the same name. The film premieres in theaters and on demand October 25th.

Wolff stars as Andrew Briggman, a young U.S. soldier whos sent to Afghanistan in 2009 and witnesses the killing of innocent civilians under the direction of Sergeant Deeks (Skarsgrd). When Andrew considers reporting the killings to higher-ups, he feels his own team and leader begin to turn against him, and fears that he might be their next target.

Krauss 2013 Kill Teamdocumentary which was partly based on a 2011Rolling Stone report chronicled a rogue band of American soldiers, led by Sgt. Calvin Gibbs, who killed three Afghani citizens. The film centered on Spc. Adam Winfield, a member of Gibbs team, who tried to report the crimes and was subsequently charged with murder upon returning to the U.S.

These events are much bigger than just soldiers or the institution of the military, Krauss toldRolling Stone in 2013 when the documentary premiered. War crimes are not a new phenomenon theyve been occurring since the Greek wars. I just read the Odysseyand theIliad and you see desecration and all kinds that are familiar to people who have studied similar cases from the Vietnam era. We dont hold the licenses on war crimes. Part of the thesis of the film, part of the fundamental conflict of the film, has to do with this notion that clean war is a modern myth.

See Joaquin Phoenix Devolve Into Joker in Unnerving Final Trailer

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Joaquin Phoenix revels in chaos with maniacal laughter in the final trailer for Joker, director Todd Phillips upcoming film based on the iconic DC Comics villain.

Like the previous clip, this preview opens with Arthur Fleck answering his therapists questions with disturbing rants. Arthur, I have some bad news for you, he says. This is the last time well be meeting. With an evil glare, he replies, You dont listen, do you? You just ask the same questions every week: How is your job? Are you having any negative thoughts? All I have are negative thoughts.

The trailer also shows Fleck, a failing comedian, sitting in a hospital room as show host Murray Franklin (Robert De Niro) makes fun of him on TV. When I was a little boy and told people I was gonna be a comedian, everyone laughed at me. Well no ones laughing now, Fleck says in stand-up footage before Franklin roasts him with a punchline: You can say that again, pal!

The rest of the clip is an unnerving montage, showing Fleck painting his face with clown make-up, playing peek-a-boo with a child on the bus and laughing hysterically in a mans face.

Zazie Beetz and Frances Conroy also star in the thriller, which hits theaters on October 4th. The film will also screen at both the Toronto International Film Festival and the Venice Film Festival.