“Emotional gunship incoming,” says Kendall Roy, watching from the deck of his family’s oligarch-level yacht as its patriarch, Logan, approaches in a helicopter. “Send out the distress signal, we are under attack,” adds sister Siobhan, known as Shiv.

We are, indeed, under attack. Verbal attack. The just-finished second series of HBO’s Succession, a fast-walking-and-talking gallop through self-made Scottish mogul Logan Roy’s “empire of shit” and its dynastic media ambition, has memed and gifted itself into the spotlight. It has cruised from “sleeper” hit (meaning that media people love it and keep talking it up on socials) to actual hit (meaning enough viewers love it for it to be renewed for another season, which is what has happened).

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