On Sunday night, with the second son, Kendall, poised to take it all, his younger sister, Shiv, betrayed him.
The company would be sold to Lukas Matsson, a Swedish tech anarchocapitalist, with Shiv’s husband, Tom Wambsgans, as C.E.O.
In its final season, “Succession” drew fewer than half the viewers, across all platforms, of “The Sopranos” or “Game of Thrones.” So if this was a water cooler show, that water was filtered.
Yet its queasy, stinging satire of the ultrawealthy exerted an outsize influence on its audience.
If you hardened your heart, or if your heart came pre-hardened, it made for a mutinous kind of comfort viewing, in which pleasure, envy and outrage could twine.