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All you need to know about SOLANDGE, the yacht from ‘Succession’

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Written by Rachael Steele

Superyachts on film are not uncommon: The Bond series is famous for its fast cars and sleek luxury yachts, while recent Netflix film Murder Mystery was filmed aboard 60m/198ft motor yacht SARASTAR , but M/Y SOLANDGE has brought new heights of glamour to the small screen as the notable backdrop in Season Two of hit TV series Succession .

SOLANDGE top deck – star of the HBO TV series Succession

The comedy-drama centres around the Roy family as patriarchal figure Logan Roy, who owns and controls a worldwide media conglomerate, declines in health and his children are sized up for taking his place as head of the empire.

Mega yacht SOLANDGE

SOLANDGE is a yacht worthy of a media mogul, boasting an enormous amount of onboard amenities, a supply of water toys just as large and exquisite living areas from the beach-club to the bedrooms. She was refitted in 2019 to have her looking better than ever, and she’s available for charter throughout the year.

SUCCESSION VIDEO TRAILER

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 Interiors transport guests to a more elegant age using classical styling, golden accents and detailed patterns of Eastern origin.

Impeccable service by the professional and highly trained crew is offered at all times

Built with a steel hull and aluminium superstructure, she provides an excellent balance between stability and power, reaching a top speed of 17.5 knots.

Logan Roy (Brian Cox) on the top deck of the yacht.Photograph by Graeme Hunter / HBO

Accommodation

The lavish on board accommodation provides for up to 12 guests in a choice of eight en-suite cabins: 1 Master suite, 1 VIP stateroom, 3 double cabins, 2 double cabins convertible to twins and 1 twin cabin.

Master suite offering the utmost in luxury and unprecedented views

The majority of the guest accommodation is placed on the main deck, where the elevated position provides better views and more natural light into the spacious and light interiors. Each has a classical appearance using light coloured wood and inlays in mother of pearl, and a subtle Middle Eastern motif in the patterns.

Master stateroom with a private deck area

The guest companionway is unique in offering hot and refrigerated drinks as well as snacks so that guests can get what they desire late at night without needing to call the crew.

Owner’s bathroom – Photo by Klaus Jordan

The Owner’s suite is a part of its own dedicated deck, which includes an office and separate his-and-hers dressing rooms and bathrooms. There is a salon more casual in appearance the opulent main deck lounge, and the bedroom itself contains hand-made Italian furniture and a stunning chandelier above the central bed. Its forward position overlooks the bow through 180-degree windows, where there is a private spa pool.

One of the best spots to enjoy the views while relaxing in the Jacuzzi

There are also 15 cabins to accommodate a professional and highly skilled crew of 29, ensuring that guests are treated to a truly indulgent experience while on board, from health and beauty treatments in the spa massage room to Scuba diving deep underwater.

Season 2 finale of Succession filmed on board Mega Yacht Solandge – Photo © HBO

Day or night, guests will be tempted outside to live under the Mediterranean sky by the choice of sumptuous seating designed for cocktail evenings while dockside or roaring parties away from the city lights. The sweeping central staircase from the lower deck to the main deck aft makes a statement by itself and is a great opportunity for a photo-shoot before heading in to view the splendour within.

Close up of the aft decks

Sunbeds, a swimming pool and stern-side seating only partially fill the spaces across each deck, leaving plenty of room for dancing the night away or yoga in the fresh morning air.

The contra-flow swimming pool

M/Y SOLANDGE can accommodate hundreds of guests for dockside events, who have plenty of choice when it comes to refreshments from the wet bars. On the Owner’s deck and the sundeck, where a forward Jacuzzi lets you wallow under the stars. The Owner has a private Jacuzzi and sunpads on the foredeck that’s perfect for lazy afternoons after a big celebration or nightcaps and stargazing before bed.

Aft deck sunbathing

The exceptional decor by Rodriguez Interiors is what has given luxury yacht SOLANDGE her character and was no doubt a deciding factor in selecting her over many other options for the superyacht in Succession: Opulence is around every corner and guests ascending the main deck aft staircase will be awestruck by the extravagant main salon where golden tones in the furnishings and light fixtures are contrasted by cool blues in the surrounding wall panelling.

Ultra-luxurious interiors with amazing attention to detail and carefully selected materials and furnishings

The Owner’s salon meanwhile has a comfortable lounge setting in front of a widescreen TV, a fireplace with armchairs and a games table for entertaining small groups on cosy nights indoors.

The most impressive of all however is the Tree of Life at the centre of the stairwell, which stretches from the lower deck all the way up to the sundeck.

Central staircase – a true work of art

Special Features

Motor yacht SOLANDGE is expensive for a reason: She lavishes upon her guests almost every modern convenience conceivable. The beach club alone contains a DJ station, a dance floor hiding a spa pool beneath, and a golden bar with 14 matching stools. Across the decks there is also a massage room and hair salon, an indoor cinema, a sauna, steam room and gym plus a helipad for getting to and from the airport in style.

Amazing beach club with shower

Water Toys and Equipment

There is an extensive collection of water toys on board to suit all ages, interests and fitness levels, and with status as an Approved RYA Water Sports Centre and a Certified PADI dive centre, guests have the opportunity to earn a jet ski and Scuba diving license during their time on board. The collection contains:

• 6 x Paddleboards
• 5 x wakeboards
• 3 x Yamaha Waverunners (2 pax)
• 3 x Seabobs (F5 model)
• 3 x inflatable kayaks
• 2 x surf boards
• 1 x Jet ski
• fishing gear
• snorkelling equipment
• Scuba diving equipment, and

Beach club set up for easy access to the toys and water

There is also a well-equipped gym and the swimming pool onboard provide guests with additional options to wear off energy during a cruise.

Charter Locations

Luxury yacht SOLANDGE is available for charter throughout the Mediterranean, from the Balearic Islands of Spain to the ancient majesty of Antalya, Turkey. The summer season is when she is most in-demand and she is most coveted for events such as the Cannes Film Festival and Monaco Grand Prix. Christmas and the New Year are also popular times for charter yachts and it is advisable to book ahead to secure her for your own special occasion.

The yacht has an amazing amount of deck space and areas to unwind and relax

Charter Price

As of winter 2019, luxury yacht  SOLANDGE is available for charter from $1,000,000 USD (€1,136,000)* per week plus expenses such as food, drinks, fuel and taxes. (*the price at the time of publication, please contact CharterWorld for up to date rates and information)

Please contact CharterWorld - the luxury yacht charter specialist - for more on superyacht news item "All you need to know about SOLANDGE, the yacht from 'Succession'".

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Which yacht stars in the TV series 'Succession'?

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By Katia Damborsky   29 October 2019

The 279ft (85m)  charter yacht SOLANDGE is the yacht in HBO’s  Succession. Hitting TV screens in 2019, the season finale of season 2 gives viewers an inside glimpse into life on board the Lurssen luxury yacht in the Mediterranean .

The curtain closed on season 2 of hit HBO show Succession earlier this month, after a dramatic season finale filmed on board SOLANDGE cruising the Mediterranean .

The series gives viewers a peak inside the six-deck superyacht, which can be rented from €1,000,000 (approximately $1,136,000) per week plus expenses.

While the yacht is fictitiously owned by the Roy family in the series, Succession showcases the type of lifestyle you can expect when chartering million-dollar megayachts ; from stylish helicopter departures to zipping between islands on a luxury tender.

The finale of Succession Season 2 is filmed on board superyacht SOLANDGE

Succession is an award-winning comedy-drama which centres around the life of the uber-wealthy and highly dysfunctional Roy family.

At the helm of the family is patriarch Logan Roy, a media titan who heads up and controls an international media conglomerate. After his health takes a turn for the worst, his adult children must each face the prospect of becoming heir to the family business. 

Rife with power struggles, backstabbing betrayals and family loyalty, Succession offers a fresh take on abuse, media and wealth in contemporary America.  

Succession showcases the type of lifestyle you can expect when chartering million-dollar megayachts.

The dramatic end to season 2 of Succession premiered in October 2019, with the finale to Succession filmed on board the motor yacht SOLANDGE.

This glamorous setting gave us plenty of scandal; Logan disingenuously suggesting stepping down as CEO, Connor's iPad getting thrown overboard and of course, the shocking final moments where we see Kendall blowing the whistle on his father.

How much does it cost to rent the yacht in Succession?

The cost of renting luxury yacht SOLANDGE is upwards of 1 million euros (or 1.136 million dollars) per week plus expenses during both the winter and summer. This price does not include the cost of food, drink, fuel dockage, VAT and tips.

SOLANDGE features in our article, the world’s most expensive charter yachts which cost over $1 million to rent per week .

What does the yacht from Succession look like inside?

With her Lurssen pedigree, innovative design and stunning selection of amenities,  SOLANDGE is recognised as one of the world’s most iconic superyachts.

She is home to all the facilities you would expect on a yacht of this calibre, including a sleek swimming pool with jet-stream technology and a cutting-edge chromotherapy spa with Hamman and treatment room which both integrate light therapy. 

Her main deck plays host to the expansive owners’ suite, which enjoys his and hers en suites with adjoining dressing rooms, a private lounge-cum-office and a private deck area with dip pool and intimate seating areas. 

While chartering her, guests can make use out of a fully-stocked wine cellar and an elevator with the capacity for nine.

Inside superyacht SOLANDGE

SOLANDGE features ornate interiors from Florida-based studio Rodriguez Interiors. A palatial theme is reflected in plush fabrics, a rich colour palette and a selection of semi-precious stones, including amethyst, honey onyx, gold leaf and rose quartz.

The design team behind SOLANDGE has also sourced plenty of glass fixtures from Murano, an island near Venice famed for its rich history of glass-making. 

Her opulent finish is evident in the main salon, which is flanked by two walls of LED backlit amethyst that imbue the room with a soft lilac glow.

An elaborate focal point, the walls have been created by slicing a piece of amethyst into tiny segments with diamond wire and gluing them to a glass sheet, before then being covered by a panel of Plexiglass studded with LED lights.

Another talking point aboard the charter yacht is the floating central staircase, which features a sculpted ‘Tree of Life’ statue ascending the full height of the yacht.

In total, 1,423 points of light illuminate the space with a warm glow. Themes of nature continue in the owner’s suite, where backlit mullions depict the Garden of Eden. 

In total, around 25 wood veneers have been used throughout luxury yacht SOLANDGE. On the lower decks, where there is typically less light, the yacht features darker, ebony finishes; higher up, lighter blondewood and caramel finishes are more prevalent.

This delicate mix of traditional opulence and contemporary punches of colour and texture lend SOLANDGE an atmosphere quite unlike any yacht.

A motor yacht of her calibre makes the perfect backdrop for Succession, and it’s hoped we’ll see SOLANDGE return to reprise her role as the Roy family’s luxury yacht in season 3.

If you’d like to learn more about chartering M/Y SOLANDGE, please get in touch with your preferred yacht charter broker .

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85m Lurssen 2013 / 2022

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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 Superyacht Was Used in Succession? (Get The Answer Here!)

Have you ever watched a TV show and wondered what luxury superyacht was used? Succession is an HBO dark comedy-drama that follows the lives of a powerful media family and their business dealings. In the second season, we are introduced to the MY Serenity superyacht, which is truly a sight to behold. In this article, you will find out everything you need to know about this stunning superyacht, from its features and its appearance in the show to the themes of Succession season two. We will also take a closer look at guest appearances and scene descriptions that feature MY Serenity. Read on to get the answer to the question: what superyacht was used in Succession?

Table of Contents

Short Answer

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.

Lady S features six decks, a helipad, a swimming pool, a spa, and a cinema along with accommodations for up to 20 guests and a crew of 40.

Background of Succession TV Series

Succession is an American comedy-drama television series that follows the lives of the Roy family, a powerful and influential media dynasty.

The show, which premiered on HBO in 2018, follows the lives of the Roys as they navigate the treacherous world of corporate media, politics, and power.

The show features a luxurious lifestyle, from opulent mansions to stunning superyachts.

One of the most impressive superyachts to appear in the show is the MY Serenity, owned by the Roy family.

The show centers around a succession of power struggles within the Roy family, as they battle for control of the familys media empire.

The show features a stellar cast, including Brian Cox, Hiam Abbass, Sarah Snook, and Kieran Culkin.

The show has won numerous awards, including two Golden Globe Awards and three Critics Choice Awards.

The show also features a range of eye-catching superyachts, such as the MY Serenity, a 60-meter Lurssen yacht owned by the Roy family.

This impressive vessel boasts a modern interior, full-beam master suite and five guest cabins.

It also features a Jacuzzi, swimming pool, gym and helipad, making it the perfect setting for the Roy familys lavish lifestyle.

MY Serenity was used throughout Season 2 of Succession and was a key setting for a number of plot points.

So, if youre a fan of the show and curious to know which superyacht was used in Succession, the answer is the MY Serenity, a 60-meter Lurssen yacht.

Overview of MY Serenity Superyacht

The MY Serenity superyacht is an impressive 60-meter Lurssen yacht owned by the Roy family in the television series Succession.

This luxurious vessel is the perfect setting for the Roys lavish lifestyle, featuring a modern interior, full-beam master suite, and five guest cabins.

It also boasts a Jacuzzi, swimming pool, gym, and helipad.

The MY Serenity was featured throughout Season 2 of Succession, and was a key setting for a number of plot points.

This luxurious vessel was designed to provide guests with the highest level of comfort and luxury.

The interior of the yacht features modern furnishings, including plush sofas, rich wood paneling, and luxurious textiles.

The master suite is full-beam, meaning it spans the entire width of the yacht, and features a spa-like bathroom, with a jacuzzi, steam room, and sauna.

The five guest cabins are all spacious and well-appointed, providing guests with the luxurious amenities they would expect.

The yacht also features a number of outdoor areas, including a large swimming pool, jacuzzi, and an expansive sun deck.

The helipad is also a great feature, allowing guests to arrive or depart in style.

The MY Serenity is also equipped with the latest technology, including satellite TV, satellite phone, and Wi-Fi.

The MY Serenity is the perfect vessel for the Roy familys luxurious lifestyle and has been featured prominently throughout Season 2 of Succession.

Whether its the picturesque backdrop to a family gathering or the setting for a business meeting, the MY Serenity is sure to impress.

Features of MY Serenity Superyacht

The MY Serenity superyacht is a 60-meter Lurssen vessel that was featured in the popular American comedy-drama, Succession.

This impressive vessel boasts a modern interior, full-beam master suite and five guest cabins, making it the perfect setting for the Roy family’s luxurious lifestyle.

The yacht also features a Jacuzzi, swimming pool, gym and helipad, as well as a spacious sundeck with comfortable seating and dining areas.

The MY Serenity is equipped with the latest technologies, such as a sophisticated navigation system, state-of-the-art audio and video systems, and a fully automated climate control system.

It also has its own private beach, allowing guests to relax in the sun and take in the stunning views of the surrounding waters.

The yacht is powered by two MTU diesel engines, allowing it to reach speeds of up to 20 knots and cruise up to a range of 6,000 nautical miles.

MY Serenity was used throughout Season 2 of Succession and was a key setting for a number of plot points, showcasing the lavish lifestyle of the Roy family.

MY Serenity Superyacht in Succession

The MY Serenity superyacht is the perfect backdrop for the lavish lifestyle of the Roy family in the hit American drama television series, Succession.

The 60-meter Lurssen yacht is a stunning vessel, boasting a modern interior, full-beam master suite, and five guest cabins.

It also features a Jacuzzi, swimming pool, gym, and helipad, making it the perfect setting for the Roy family’s extravagant lifestyle.

MY Serenity was featured throughout Season 2 of Succession and was an integral part of the shows plot.

The MY Serenity superyacht is a magnificent vessel that was customized to fit the Roy familys luxurious tastes.

The interior of the yacht is luxurious and modern, with spacious rooms, marble floors, and plush furniture.

The full-beam master suite has a king-sized bed, walk-in wardrobe, and an en-suite bathroom.

The yacht also features five guest cabins, each with its own en-suite bathroom.

In addition, the yacht has a Jacuzzi, swimming pool, gym, and helipad for the ultimate entertainment and relaxation.

The MY Serenity superyacht was a key part of the second season of Succession.

The yacht was used as a backdrop for many of the shows pivotal moments, including the Roy familys business meetings and the familys extravagant parties.

The yacht was also used as a refuge for the family during difficult times, providing a safe and luxurious space in which the Roys could relax and enjoy each others company.

The MY Serenity superyacht is a magnificent vessel that perfectly captures the lavish lifestyle of the Roy family in Succession.

From its luxurious interior to its Jacuzzi, swimming pool, gym, and helipad, the MY Serenity is the ideal setting for the Roy familys extravagant lifestyle.

The yacht was featured prominently throughout Season 2 of the show and was an integral part of the shows plot.

Scene Descriptions Featuring MY Serenity Superyacht

The MY Serenity superyacht is featured prominently throughout the second season of Succession.

It is the primary setting for a number of important plot points and is used to illustrate the Roy familys luxurious lifestyle.

In one of the more memorable scenes from the show, Logan Roy, played by Brian Cox, is seen on the yacht with his daughter, Shiv, talking about the familys future.

The scene takes place on the sun-drenched deck and is set against the backdrop of the crystal-clear waters of the Mediterranean Sea.

In another scene, the MY Serenity superyacht is used as a backdrop for a party hosted by the Roy family.

Complete with champagne and caviar, the party serves as a symbol of the familys wealth and success.

The yacht also features prominently in a scene where the family gathers for dinner in the interior dining room, discussing business and family affairs.

The MY Serenity superyacht is also seen in a number of other scenes throughout the show.

In one scene, the yacht is used as a backdrop for a romantic rendezvous between two of the characters.

In another, the yacht is the setting for a dramatic confrontation between two of the family members.

No matter the scene, the MY Serenity superyacht serves as a reminder of the wealth and power of the Roy family.

Themes of Succession Season 2

Succession Season 2 is full of luxurious and decadent settings, and the appearance of the MY Serenity yacht is the perfect encapsulation of this.

Throughout the season, the yacht is used to explore themes of wealth, power, family, legacy, and ambition.

As the Roy family grapple with their relationships and their place in the world, the yacht serves as a backdrop to some of the most important developments in the show.

The yacht symbolizes the Roy familys power and status, and its sumptuous interior and modern amenities represent their privileged lifestyle.

The yacht also serves to emphasize the familys complicated relationships, as they navigate the highs and lows of their lives together.

The yacht is a physical representation of their lifestyle, and it is used to illustrate their complicated dynamics, and the often-tumultuous nature of their relationships.

Guest Appearances on MY Serenity

The luxurious MY Serenity was put to good use throughout the second season of Succession.

As part of the Roy familys extravagant lifestyle, the yacht played host to a number of guests, such as a high-profile investor, the CEO of a rival company, and a powerful media mogul.

These guests were treated to the yachts impressive amenities and features, such as its full-beam master suite, five guest cabins, Jacuzzi, swimming pool, gym, and helipad.

Throughout their stay, these guests and the Roys engaged in interesting conversations and negotiations, which drove the plot forward and added to the shows dramatic tension.

One of the most memorable scenes from this season took place on the MY Serenity.

After a night out at the casino, Logan Roy (the head of the Roy family) and his son Kendall had a heated confrontation, resulting in a deep rift between them.

This scene was filmed on the yachts deck and provided viewers with a glimpse of the yachts impressive features.

The MY Serenity also featured in the shows final episode.

At the end of the season, Logan and his family sailed away on the yacht, leaving the audience to ponder their uncertain fate.

The yachts impressive features and luxurious amenities provided the perfect backdrop for the Roy familys dramatic story.

Overall, the MY Serenity played an important role in the second season of Succession.

From hosting powerful guests to providing a dramatic backdrop for key scenes, the yacht proved to be an integral part of the show.

Its luxurious amenities and impressive features added to the shows glamorous atmosphere and provided viewers with a glimpse into the luxurious lifestyle of the Roy family.

Final Thoughts

The MY Serenity is a magnificent vessel, and it played a pivotal role in the second season of Succession.

The yacht’s luxurious design and features created the perfect backdrop for the Roy family’s decadent lifestyle.

Its modern interior and expansive spaces provided the perfect setting for key plot points, as well as guest appearances from some of the show’s most memorable characters.

Now that you know which superyacht was used in Succession, why not take a closer look at the features and scenes that make MY Serenity so memorable?

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.

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11 Beautiful Succession Filming Locations You Can Visit IRL

By Lisa Liebman

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It will be (family) business as usual when  Succession ’s contentious Roy clan returns for the fourth and final season of the HBO series on March 26. Perpetually discontent siblings Kendall (Jeremy Strong), Roman (Kieran Culkin), Shiv (Sarah Snook), and Connor (Alan Ruck) aren’t likely to accept being excluded from the merger their media-mogul father Logan (Brian Cox)—with an assist from Shiv’s husband Tom (Matthew Macfadyen)—has orchestrated with GoJo streaming CEO Lukas Matsson (Alexander Skarsgård). 

But internecine power struggles among this privileged company have their perks. Rather than taking place in dull corporate boardrooms, the battles over Logan’s C-suite have played out in glamorous locations befitting a billionaire and his entitled kids. Ahead of this season’s premiere—with a trailer that hints at destinations including a Pacific Palisades mansion and Matsson’s home turf of Norway—we tour some of the series’ top filming spots that are open to the public or available for rent.  

The cocktail party which kicked off the siblings’ mother’s wedding weekend was filmed at La Foce. 

This famous 3,500-acre  estate in southern Tuscany, with its lush lawns, clipped hedges, and pine stands, is said to have Italy’s most beautiful gardens—and boasts the first cypress-lined lanes designed by famous English landscape gardener Cecil Pinsent. Though the property can accommodate up to 24 guests, only some Roys bedded down there during their mother Lady Caroline Collingwood’s (Harriet Walker) destination wedding in season three.  

Also notable about the Renaissance mansion in Val d’Orcia is the  role it played in World War II, when its owners, Iris Origo and her husband Antonio Origo, offered refuge to children and escaped prisoners of war. 

The wedding ceremony was filmed at Villa Cetinale.

This 17th-century 13-bedroom Italian  mansion near Siena was the venue for Collingwood’s Tuscany nuptials to Peter Munion (Pip Torrens) in season three. Built for Pope Alexander VII, the cream-colored villa with its own chapel is surrounded by aristocratic gardens with Baroque sculptures, where the wedding reception took place.   

This gorgeous pool becomes the scene of a scary moment for Kendall Roy.

Located in Tuscany’s Val d’Orcia , this former rest house with exposed wood-beam ceilings and original stone- and brickwork, was originally used by Christian pilgrims. Kendall and his kids called the country casa home during his mom’s wedding in season three. The six-bedroom, six-bath villa has modern amenities, a fireplace, and a pool—where Kendall almost drowned. 

Matsson’s villa is the site of tense negotiations. 

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Accessible only by boat, this meticulously restored überprivate 19th-century  estate was Matsson’s vacation home in season three. The nine-bedroom main house with a separate boathouse has panoramic lake views and is decorated with Italian antiques and fine art. Accommodating 17 people, the property is surrounded by lush gardens and has a heated infinity pool, pool house with a screening room and gym, and a tennis court. The secluded getaway is on the western shore of Lake Como, not on Lake Maggiore in northern Switzerland as  Succession suggested, and is available to rent through  Bellini Travel . 

The Roys visit this New Mexico property in season one.

The Land of Enchantment was anything but when the Roys descended on Santa Fe, New Mexico, in season one for a family summit at this sprawling 190-acre property where bison roam free. Supposedly owned by Connor, the 11-bedroom art-filled main residence filled with formal Spanish furnishings was designed by William F. Tull, who was considered the southwest’s best designer of adobe structures. Mogul Jochen Zeitz bought the ranch (available for  stays ) in 2012, and turned it into an authentic—troweled plaster walls and vaulted brick ceilings—Pueblo-style place that includes a cantina inspired by a 300 year-old Spanish cowboy bar, a carriage house, and a chapel, all connected by Mexican stone pathways. 

A Long Island hotel and wedding venue stood in for a Hungarian hunting lodge in season two.

A 109,000-square-foot, 127-room French-style  mansion in Cold Spring Harbor, New York, stood in for the Hungary location where Waystar senior staff decamped for a company hunting retreat that included season two ’s infamous “boar on the floor” game. Built by Otto Hermann Kahn in the 1920s, the now meticulously restored chateau was the financier’s summer retreat. It remains the second-largest private home ever built in the US and is listed on the National Register of Historic Places. 

The Roys were hardly able to enjoy their time aboard this luxurious yacht.

A  superyacht was the Roys’ private floating hotel at the end of season two as they cruised the Croatian Adriatic around Cavtat—dubbed the Dubrovnik Riviera. On the 279-foot, five-deck luxury vessel—with amenities that include an infinity pool, bar with a piano, nightclub with a DJ station, and full spa (sauna, steam room, beauty salon)—it was decided that Kendall would take the fall for the company’s cruise ship malfeasance. But not before a stop on the island of Korčula and its Old Town—listed as a UNESCO World Heritage Site—and a business meeting at  Cupido , a restaurant with a modern take on Mediterranean dishes and views over Korčula’s archipelago. 

Shiv honored her English roots by having her wedding at a UK castle in season one.

This 19th-century medieval  castle in Herefordshire on the edge of the Cotswolds is the elegant estate where Shiv’s ill-fated marriage to Tom took place in season one . The venue that’s truly a favorite wedding site was built between 1810 and 1824 by the Second Baron (Lord) John Somers Cocks and is still owned by his descendants. Visitors can explore the revival castle’s opulent state rooms and bedrooms, as well as grounds that include a deer park, arboretum, and manmade lake. 

The exterior of The Shed in New York City. 

This visual arts and performance space on New York City’s West Side was designed by Diller Scofidio + Renfro in collaboration with Rockwell Group as part of the 28-acre Hudson Yards complex. It was transformed into the over-the-top birthday venue—replete with a walk-thru vagina—for Kendall’s 40th in season three. Known for its shell design featuring a moveable 16,0000-square-foot outer skeleton, the structure expands and contracts using industrial crane technology and can envelop the adjacent 20,000-square-foot plaza.

Here, the Roys hold court in a Plaza hotel suite. 

Though it’s The Jefferson Hotel entrance that’s seen when the Roys arrive at a Virginia political conference in season three, it’s New York City’s iconic Plaza Hotel that provided the meetings’ interior scenes. The king-making Roys mingled with potential presidential candidates in the elegant five-star’s public (The Palm Court, Terrace Room, Grand Ballroom) and private (Royal Suite) rooms before anointing their man. 

Roman and Gerri (J. Smith Cameron) in a scene filmed at Whiteface Lodge.

This modern Adirondack-style  lodge evoking the rustic timber design of retreats built during the Gilded Age is where various Roys attended the Argestes tech conference in season two. Though the main lodge’s wood-beamed exterior may be 19th-century style, the Lake Placid, New York, property offers 21st-century accommodations and amenities, including a spa. 

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By Kristine Hansen

By Charlotte Collins

By Alia Akkam

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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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 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.

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.

“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' filming locations: Inside the world of Waystar Royco

From NYC skyscrapers to luxe Italian villas, here's your 'Succession' filming locations field guide as we get stuck into season 4

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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 New York City settings, to vast California estates.

Across the four seasons, the series has used IRL locations (only a few scenes are filmed on studio sets) to accurately flaunt the billionaire lifestyle of the Roy clan, a ruthless family tree that owns and runs one of the world’s leading media and entertainment companies. The Roys and their employees never usually stay in one place for too long, travelling the world for business deals, family events, and lavish parties. So where exactly are the main Succession filming locations across all four seasons?

If you want to step into the gilded world of Waystar yourself, here's a field guide to Succession' s filming locations—from flashing city enclaves, to country retreats.

*Warning: Spoilers for all Succession seasons (including season 4) below!*

Succession filming locations: A field guide

1. new york city.

The Roy family and their Waystar Royco media empire are based out of New York City in the show ( if you know what Succession based on , this won't come as a surprise). So naturally, the bulk of filming does actually take place in good ol' Gotham. Main filming locations include the headquarters of Waystar, which were set at the World Trade Center in seasons one and two, but moved to the 28 Liberty Street skyscraper for seasons three and four. Then, there's Logan Roy's expansive Fifth Avenue apartment, which—as fans who are caught up with season 4 will know—features heavily in episode 3.

Logan's apartment (or is it now Connor's?!) is actually filmed on a set, meaning that sadly the beautiful location doesn't exist in real life. However, the lobby of the building is real, and is filmed at the American Irish Historical Society.

We've also had multiple glimpses into Kendall's NY apartment—and the impressive penthouse is real, spanning three floors. It's located on 180 East 88th Street.

Over the four seasons, NYC production has bounced all over the boroughs, from the highbrow hotels of midtown like The Pierre and The Plaza, to the East New York Freight Tunnel in Brooklyn where Tom's bachelor party takes place. We're looking forward to seeing what other New York spots the Roys hit up next.

2. California

Season 4 of Succession kicks off with three of the four Roy siblings ( Shiv , Roman, and Kendall), masterminding a new start-up—'The Hundred'—at a palatial Los Angeles home, high up in the hills.

The property couldn't really get much slicker, with an expansive outdoor pool, all-glass walls, and a panoramic view of the city. And it turns out that the property is real; and just as expensive as you might have guessed.

This scene was filmed at a real home in Pacific Palisades, which was recently bought by a young tech billionaire for an eye-watering $83 million. With approximately 20,000 square feet of space, six bedrooms, 18 (?!) bathrooms, an outdoor sauna, and a kitchen design by Nobu, it's certainly a location fitting for the Roy family. And when it comes to Succession filming locations, it doesn't get much pricier.

And that's not the only Californian location in season 4 so far. When the Roy kids make a hurried dash to Nan Pierce's estate to close the deal on buying Pierce Global Media, in actuality, it was just a short drive to Santa Barbara, about an hour and a half from the center of Los Angeles. 

It's thought that the Peabody Estate provided the setting of the fictional Pierce Estate. And interestingly, its real life owner isn't too far off its fictional owner. It's reported that the property was bought by former Google CEO Eric Schmidt for $30.8 million, in 2020.

3. United Kingdom

Like Brian Cox, the actor playing him, Logan Roy was born in Dundee, Scotland, a locale we get to see for ourselves in season two when the Roy patriarch visits his birthplace to celebrate his 50th anniversary as CEO of Waystar Royco. 

The UK also served as the setting for Shiv and Tom's wedding at the end of season one, which was held at her mother's family estate in England and was shot at Eastnor Castle in Herefordshire. 

3. Long Island, NY

Although the majority of the action happens in New York City proper, the moneyed, eastern edges of New York also see some Roy shenanigans throughout the series. Oheka Castle in Huntington, NY, stood in for the Roys' Hungarian hunting lodge, the setting of the infamous "Boar on the Floor" scene from season two. 

Fans got to see Logan Roy's Hamptons home in the beginning of season two. The actual home is the 1960 Henry Ford Estate in Mecox Bay, Southampton, chosen to signify Logan's "new money" sensibilities, reports Vulture . The show's production designer Stephen Carter told the outlet: “Given the age of the character, he would have been forming his impressions of what trendy style would be in the sixties.”

Season two opened in the Land of Fire and Ice, where Kendall Roy was holed up in a swanky rehab clinic following the tragic accident that took place at the end of the first season. 

Speaking to Filmmaker magazine, Carter said of the Icelandic setting: "With about a week to go, we were locationless, which was a little bit scary. I’d been a big fan of Black Mirror and remembered a house I’d seen on an episode, which I knew was in Iceland. It happened to be available, and we jumped all over that. It was a fantastically stark location."

5. New Mexico

The season one episode "Austerlitz" sees the whole Roy clan head to Connor Roy's sprawling New Mexico estate for a publicized family therapy session. Playing the part of the southwestern home is Rancho Alegre, a Santa Fe private house/museum with panoramic views of the Ortiz and Sangre de Cristo Mountains.

The Succession New Mexico ranch has 11 bedrooms, a wine cellar, a media room, and is sat on 190 acres—and amazingly, you can actually stay there yourself (if you've got the cash, of course). The home can be booked for private stays—with seven nights minimum booking preferred), or private events. 

6. The Adriatic Sea

The finale of season two sees the Roy family and their closest Waystar cohorts lounging and backstabbing on an 85-meter super-yacht off the coast of Croatia. 

Filming took place in the picturesque shores of Cavtat, Korčula, Mljet and Šipan, aboard the rather majestic super-yacht SOLANDGE, which measures in at a whopping 279ft and has accommodation for up to 12 guests.

7. Tuscany, Italy

While the Succession season 2 finale capped in Croatia, season three finished off in typically glam fashion in Tuscany. One of the most stunning Succession locations so far, Villa Cetinale, a 17th-century villa and gardens in Sovicille, served as the wedding location of Caroline Collingwood, Shiv, Kendall, and Roman's mother.

Plenty of other scenes were filmed across the region too, with the Italian filming locations in season three including Villa La Cassinella in Lake Como, which serves as the backdrop for GoJo founder Lukas Matsson's home, while a tense discussion between Shiv and husband Tom Wambsgans took place in the the hamlet and village of Bagno Vignoni, located in the commune of San Quirico d'Orcia.

Finally, Caroline's bachelor party, which sees her and Shiv partake in an awkward heart-to-heart, was filmed in the town of Cortona, in the Arezzo province. 

Season 4 of Succession is currently airing on HBO in the US and Sky Atlantic and NOW in the UK. Want to watch shows like Succession once the series comes to an end? Look no further than our guide.

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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Succession recap: season four, episode three – a gut-punch episode is one of the show’s finest

Gamechanging and heartbreaking in equal measure, this week’s instalment shakes up the status quo for the rest of the season

Not quite a red wedding but certainly a black one. Here’s the order of service from the devastating third episode, titled Connor’s Wedding …

Spoiler alert: this recap is for people watching Succession season four. Don’t read on unless you’ve watched episode three.

‘This is not the end ’

Well, we knew it was probably coming – the clue is right there in the show’s title – but not this soon. This gamechanging episode began with billionaire silverback Logan Roy (Brian Cox) seemingly in rude health. As he boarded a private jet to Stockholm for face-to-face negotiations with mercurial tech mogul Lukas Mattson (Alexander Skarsgård) over the impending sale of Waystar Royco, “Loganus Maximus, slayer of Vikings” barked instructions. Time to “clean out the stalls, strategic refocus, a bit more fucking aggressive”. He’s often at his most dynamic under pressure.

Or so it appears – until 18 minutes into the episode, when son Roman (Kieran Culkin) answers the phone to the “fucky-sucky brigade”. Logan had suffered breathing problems and promptly collapsed in the plane bathroom – an echo of his stroke aboard a “whirlybird” in season one. Chest compressions were being desperately administered. Daughter Shiv (Sarah Snook) had been ignoring calls from estranged husband Tom Wambsgans (Matthew Macfadyen).

Tom placed his mobile phone by Logan’s ear and told the siblings to speak to their father, in case it was their last chance. Was it just me, or did you momentarily suspect some kind of sicko bluff? Tragically, it was all too real.

The Gerroman dream died too

Logan hadn’t wanted longtime legal counsel Gerri Kellman (J. Smith Cameron) at the Matsson meeting, and we learned why. While Logan ousted Cyd Peach (Jeannie Berlin), veteran boss of Fox News-alike channel ATN, Roman had to fire Gerri – secretly planning to let her retrospectively take the fall for the cruise division scandal. “You push Cyd, Roman knifes Gerri, all in a day’s work,” crowed Tom.

Romulus was so reluctant, it was cringe-inducing. He contorted his body into awkward shapes and couldn’t make eye contact with his former mentor-cum-dominatrix, babbling about her slow work on the DoJ investigation and losing Logan’s confidence. “I danced us through a thunderstorm without us getting wet,” she replied, eyes blazing. Roman sending her “repeated images of your genitalia” hadn’t helped. Roman promised a generous payoff. Simmering with fury but forever the pro, Gerri coldly closed him down.

He phoned Logan to tell him the deed was done, but left a message dripping with self-loathing: “That was horrible. You can’t expect me to keep bending over. Are you just being shitty with me? That’s the question, are you a cunt? OK, give me a buzz.” Not the ideal parting voicemail.

Logan’s run was over

In those deathbed calls, little-lost-boy Rome whispered: “You’re going to be OK because you’re a monster and you always win. You’re a good man and a good dad. You did a good job.” Kendall (Jeremy Strong) said: “I can’t forgive you but it’s OK and I love you.” Shiv struck a similar note: “Daddy, don’t go please. Not now. No excuses for the [betrayal] but it’s OK, I love you.” Some truly top-tier acting from the siblings during these scenes. Start polishing those 2024 Primetime Emmys.

The entire ensemble’s reactions to the news were revealing. Kendall requested “the best heart doctor in the world” and demanded to speak to the pilot. Roman was in denial, even when Logan was long gone. Shiv fleetingly hoped it was their mother who’d carked it and needed Advil for a stress headache. Connor (Alan Ruck) poignantly muttered: “I never got a chance to make him proud.”

Tom’s venal facade briefly melted away to reveal a human interior – until once again, we soon saw how scheming he is. He sent cousin Greg (Nicholas Braun) straight to the ATN offices to delete incriminating computer files and stick tightly to Cyd. Tom lamented that he’d “lost his protector” but immediately wanted word put out that he’d been with Logan when he died.

Meanwhile, Logan’s “friend, assistant and adviser” Kerry (Zoe Winters) had a weird rictus grin and was immediately dubbed “Chuckles the Clown”. Logan had spoken to her during his last moments. What was said could prove pivotal. No wonder CFO Karl (David Rasche) reached for a “stiffener”.

Forget bridezilla, meet groomzilla

Leonard Cohen fan Connor dreamed of marrying beneath the Statue Of Liberty with attendant “razzmatazz”. His naff fantasy nearly came true. As a brass band played on the dockside, wedding guests entered through patriotic red, white and blue balloons and boarded a yacht to Ellis Island. The press were invited to revive Connor’s presidential bid. Logan had been set to miss the nuptials anyway, but he’d bought Napoleon obsessive Connor some letters between the power-crazed Corsican and Empress Joséphine. A sort of antique equivalent of the most expensive item on a John Lewis gift list.

Remember Connor micro-managing bread rolls at season one’s gala dinner? Now he fixated on cake, telling the wedding planners it was “inadequate”, for “display only, not for serving” because he didn’t want to see its “internal qualities”. Heartbreakingly, we heard that when his mother had been committed to a mental care facility, Logan gave young Connor cake to calm him down. He ate it for “a week straight”. Victoria Sponge was henceforth known as “loony cake”. Oh, Con.

He asked bride-to-be Willa (Justine Lupe) if she was merely with him for money. Well, duh. Willa sweetly reassured him that financial security was a factor but she was happy too. Should they cancel the ceremony or “could something good come out of something bad”? A closing shot showed them tying the knot as the few remaining guests applauded. A bright spot amid the darkness. Till death do us part.

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‘Reagan’s funeral with tweaks ’

This was essentially two chamber pieces – one up in the air, the other adrift on water. With his body mere metres away, Logan’s lieutenants mobilised to formulate a corporate response. Jockeying for position immediately commenced. “It’s important we’re mentioned by name,” the top team insisted. As PR chief Karolina (Dagmara Domińczyk) pieced together timelines and drew up a contact list (“the board, POTUS”), COO Frank (Peter Friedman) told the Rebel Alliance: “It’s a material event so we need to reassure the market.” When Karl suggested the family were “estranged”, Kendall bridled and denied that was the case.

Back on the ground, he began to take charge. Shiv suggested keeping the plane circling while they hatched business plans. Kendall wisely pointed out this could be perceived as cold-hearted. How they behaved was vital for the official record and their future prospects. Reporters were already circling (courtesy of Greg’s Tom-approved leak). They needed to make the statement themselves, signalling family continuity. Shiv duly told the media “we intend to shepherd the company through whatever its future may be”.

As the stock price nosedived, Ken and Roman swore at one another in a bittersweet bid to reassert normality. Shiv declined to see her father’s bodybag taken off the plane (“he’s not gonna get angry if we don’t”) and returned to Tom’s embrace. Roman rolled up his shirtsleeves and bit the bullet, still fretting about Gerri and that final voicemail. Kendall watched from a distance in the gathering gloom. The siblings seemed united and mutually supportive, but we face the prospect of seven Logan-free episodes. The game is afoot. Again.

The heir apparent

Your guess is as good as mine after the succession battle was thrown wide open again. Kendall seemed to take the lead. Shiv made the public statement. Roman was the one with Logan’s ear. Anyone? Anyone?

Line of the week

It can only be Shiv’s momentous press statement: “My father, Logan Roy, was pronounced dead on arrival at Teterboro Airport … My brothers and I want to say that Logan Roy built a great American family company … This nation lost a passionate champion and an American titan. We lost a beloved father.”

Notes and observations

Spare a thought for poor bodyguard Colin (Scott Nicholson), last seen looking shellshocked beside Logan’s limo. His “best pal” and meal ticket just turned up his toes.

Did Logan have an intimation of his waning health – hence his afterlife musings and uncharacteristic declarations of love? Did Jesse Armstrong know this episode would air at Easter?

Even at a family wedding, wealth hierarchies remained rigidly in place, with colour-coded invitations and VIP areas. Tom trusted the aircrew, the Roys definitely didn’t.

This gut-punch episode was written by showrunner Armstrong and directed by Mark Mylod – the dream team behind 11 of Succession’s 31 episodes so far. Nicholas Britell’s elegiac score was beautiful too.

A respectful minute’s silence for one of Succession’s finest hours. Rejoin us here next Monday. In the meantime, wealth creators, please leave your thoughts, theories and cable-knit cardigan eulogies below.

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Den of Geek

Succession Season 2 Episode 10 Review: This Is Not For Tears

Of course it was going to end this way!

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This Succession review contains spoilers.

Succession Season 2, Episode 10

At the end of last week’s “DC,” two things happened that should have immediately clued audiences to what was going to happen in Succession ’s season two finale, “This Is Not For Tears.” First, Kendall Roy (Jeremy Strong) delivered a fiery defense of his father Logan (Brian Cox) and the Waystar Royco brand during his congressional testimony regarding the company’s problematic cruise line and the sexual harassment allegations against its head.

And second? Moments before the closing credits began, Logan told his daughter Shiv (Sarah Snook) that someone from their inner circle had to be sacrificed to the media, the government and their shareholders to finally fix the cruise mess. Not just anyone, though, but a “blood sacrifice.” In other words, one of the series’ preeminent Roy kids — Kendall, Shiv or Roman (Kieran Culkin) — was going to bite the proverbial bullet by the time this season came to a close.

read more: Kendall Roy Proves He Was a Killer All Along

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Of course, it was going to be Kendall. It was always going to be Kendall.

Then again, for all the effort series creator Jesse Armstrong and the Succession writers put into laying the groundwork for Logan’s inevitable decision regarding his own son, they’ve also been planting an entirely different set of crops alongside these initial seeds. Much of the show’s first season was just as much about who Logan was going to pick to succeed him as it was about Kendall’s efforts to oust his father in a hostile takeover.

And though the vehicular manslaughter he caused at the end of season one, and Logan’s engineered coverup of it in the second season premiere ultimately tanked these efforts, Kendall never really could have forgotten what his original intentions were. Sure, much of this season has been about portraying Kendall’s transformation into a soulless shell of a human being who is more than willing to do anything his father tells him . But does this mindless devotion extend to self-flagellation on such a massive scale? Yes and no.

Logan and the aforementioned Roy kids, along with eldest son Connor (Alan Ruck), cousin Greg (Nicholas Braun), Shiv’s cuckold husband Tom (Matthew Macfadyen) and the rest of the Waystar Royco legal and public relations teams meet off-and-on aboard the family’s massive yacht in the Mediterranean to discuss options. Many, including the always-willing-to-speak Roman, think Greg and Tom — who actually did try to cover up the cruise scandal (under orders, of course) and totally botched their respective congressional testimonies — should take the hit. It’s “half an idea” per Logan’s estimation, but he and almost everyone else there know it’s not enough. Especially Shiv, who goes to her father amid a brewing personal crisis with Tom to make sure he knows this.

read more: Succession Season 2 Episode 9 Review

“Why not what he discussed?” she reminds him. “Ken hurts,” her father admits in turn. “He was across the whole thing. It hurts. It plays, obviously.”

So, when Logan finally tells Kendall — albeit in a roundabout way, at first — of his decision to lay the blame on him, it actually does seem to hurt the otherwise emotionally distant Roy patriarch. The camera even goes in and out of focus on occasion, becoming blurry and clear again, almost as if a tear or two are breaking the episode title’s explicit rule against mournful emotions.

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“It’s okay dad,” Kendall tells his father once he realizes what’s happening. “It’s okay.”

“Thank you, son,” Logan responds. “The hearings, you did so well. But now you’re the face. You were across the cleanup. The optics make sense. And, what’s more, I trust you. I trust you in case it turns and gets nasty.”

Like with the dissolution of the digital media company Vaulter in this season’s second episode, along with plenty of other examples, Kendall immediately agrees with his father’s decision and goes along with it, though he does ask him if he ever thought he could do it. If he ever thought he was good enough to succeed him and lead Waystar Royco into the future. “You’re not a killer,” Logan tells him. And that’s the moment when those who have been paying complete attention to Kendall’s scheming, its implosion and his continuously downward spiral should have known what would happen in the episode’s final moments. Yes, he goes before the press to supposedly admit his wrongdoing regarding the cruise scandal. After all, is father is watching. Instead, Kendall plunges the dagger meant for himself into Logan, Waystar Royco and pretty much everyone else we could consider his flesh and blood.

read more: Succession Season 3 Confirmed

“I have been asked to explain my own role in the managing of illegality at the firm and associated coverups, and it has been suggested I would be a suitable figure to absorb the anger and concern,” he begins before going off-script. “But the truth is, my father is a malignant presence, a bully and a liar. He was fully personally aware of these events for many years and made efforts to hide and cover-up. He had a twisted sense of loyalty to bad actors like Lester McClintock.”

“This is the day his reign ends,” Kendall concludes as the room erupts in a flurry of shouted questions from the gathered press.

Cue Succession ’s Emmy Award-winning theme music and an amazingly calm Logan, watching the press conference aboard his yacht with a bewildered Shiv and Roman. They cannot believe what they’re watching, but according to the slow smile spreading across Logan’s face, it’s not all that fanciful. It turns out, he was completely wrong about Kendall. He is a killer.

Succession airs on HBO.

Andrew Husband

Andrew Husband is an entertainment and culture writer based in Boston, where he lives with Cosmo's real-world counterpart, Molly the Labrador. When he's not too busy…

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.

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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).

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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.”)

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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The superyacht world is speculating that Mark Zuckerberg just bought this 118-meter boat

• The 118-meter superyacht Launchpad made her maiden voyage last week.
• The yacht world is speculating that her owner is Meta CEO Mark Zuckerberg.
• Here's what we know about the luxury vessel.

In the world of superyachts , privacy is the most valuable asset. It can be next to impossible to discern the details of a superyacht transaction — and that's particularly true if the vessel in question is worth nine figures.

Yet some in the boat blogging world are speculating that Meta CEO Mark Zuckerberg is the new owner of Launchpad, a megayacht currently moored in Fort Lauderdale, Florida after she made her maiden voyage from Gibraltar to St Maarten last week. Launchpad clocks in at 118 meters long, about nine meters shorter than Jeff Bezos' superyacht Koru .

The transaction could not be confirmed, with yacht world insiders declining to share what they know and representatives for Zuckerberg not responding to a request for comment from Business Insider. In the past, reports about Zuckerberg owning superyacht Ulysses have proven false.

Related stories

"It is Feadship's standard policy to never divulge any information about our yachts with reference to ownership, costs, or delivery, etc," Feadship, the ship's builder, wrote to BI. "Whether it is an 18-meter Feadship from the 1960s or a 118-meter Feadship from the 21st century, we do not share private information."

But Zuckerberg's name has been connected to Launchpad for a few months now, beginning in December when reports swirled that he visited Feadship's shipyard in the Netherlands.

Then, earlier in March, yachting bloggers like eSysman SuperYachts and Autoevolution started speculating that he officially snagged the boat, originally built for a sanctioned Russian businessman, at a $300 million price tag. (While that's a seemingly huge amount, it's still less than 0.2% of Zuckerberg's $177 billion net worth.)

Another clue that might point to US ownership is that the yacht bears the flag of the Marshall Islands, a US territory and commonplace for American buyers to register their ships, according to public marine tracking.

If Zuckerberg were to have bought Launchpad, he would join a cohort of superyacht-owning tech billionaires . Along with Bezos, the likes of Oracle cofounder Larry Ellison and Google cofounders Sergey Brin and Larry Page have purchased impressive boats with even more impressive amenities.

SuperYacht Times , an industry publication and intelligence platform, has some of the best images of the yacht. Photos show a swimming pool on her main deck and a large helipad.

While less is known of the interior, a vessel of her size can likely sleep dozens of guests and crew and may have amenities like an expansive gym where Zuckerberg could practice his jiu-jitsu or a spa with a massage area. We suspect there's also space for plenty of toys — which could include his viral hydrofoil foil .

Do you have any details about Launchpad or any other superyachts? Email reporter Madeline Berg at [email protected].

Watch: Walmart heiress' superyacht vandalized by activists in Ibiza

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15 Extraordinary Superyachts Setting Sail In 2024

Posted: March 19, 2024 | Last updated: March 19, 2024

Breathtaking dream boats launching this year

Ready to discover the ultimate in nautical eye candy?

With the largest-ever superyacht poised to grace the high seas – and several other spectacular launches on the horizon – 2024 is tipped to be a truly unforgettable year for fans of floating palaces.

Click or scroll through to jump aboard the most hotly anticipated superyachts scheduled for delivery this year, from state-of-the-art explorers to a record-breaking model that's expected to cost a staggering $600 million. 

All dollar amounts in US dollars.

Custom YS 75 Hybrid: Cost unknown

Ushering in a new generation of high-end eco explorers, this expedition vessel from Damen Yachting in the Netherlands boasts a hybrid propulsion system for zero-emission cruising. For the uninitiated, a hybrid propulsion system uses two or more forms of propulsion, such as a biofuel or diesel engine combined with an electric machine.

As buyers become increasingly aware of environmental concerns, naval architects and yachtbuilders are devising green-leaning vessels that don't compromise on style, luxury, or performance. Damen is among the firms leading the way.

Designed by innovative London studio Michael Leach Design and engineered in-house, the 247-foot Custom YS 75 Hybrid has cutting-edge features, including a touch-and-go helipad and a crane for deploying tenders.

It can accommodate 24 crew members and up to 12 guests across six staterooms and boasts plush entertaining areas.

Due to launch early this year, the innovative vessel will also be the first private superyacht equipped with commercial-grade cultivation pods to grow vegetables, further adding to its eco credentials. As for the price tag? Damen is keeping it firmly under wraps...

Blue Marlin and Custom 78: Cost unknown

Admiral Yachts, owned by The Italian Sea Group, is delivering two sensational superyachts this year, according to Boat International : the 256-foot Custom 78 a nd 253-foot Blue Marlin (pictured).

Sleek and elegant, Blue Marlin's exterior and interior are both the handiwork of prestigious Dutch studio Sinot Yacht Architecture and Design.

The superyacht accommodates 12 guests in six staterooms and offers them a wealth of amenities, including a 19-foot swimming pool, a private spa, and a helipad. Its more sustainable credentials include a lower-emission diesel-electric propulsion system.

Precious little is known about Admiral's super-secretive Custom 78 project, as noted by Boat International .

It's known that the superyacht's exterior has been designed by Igor Lobanov, the Barcelona-based Russian nautical designer who's renowned for his futuristic, mega-streamlined creations. (An example of his work is shown here.)

Admiral has yet to disclose the price of either  Custom 78 or  Blue Marlin .

Project Toro: Cost unknown

Türkiye's Turquoise Yachts is getting ready to sign off the 259-foot Project Toro . It's actually running behind schedule and was supposed to be delivered last year.

With the exterior and interiors designed by British studio Harrison Eidsgaard – which is behind some of the world's most luxurious private jets, in addition to its portfolio of yachts – the end result will undoubtedly be a feast for the eyes.

Project Toro's neoclassical exterior is a real head-turner, while its interiors – which apparently include "a huge Neptune Lounge," to quote Super Yacht Times – have been described by the design team as "the definition of serenity and calm."

The fully customized beauty, which was sold in 2021 for an undisclosed sum, can comfortably fit 14 guests in its seven staterooms, as well as providing space for 21 crew members. Amenities onboard include a beauty salon, gym, and swimming pool.

Al Reem: Cost unknown

Formally known as  Silence , Al Reem is getting its finishing touches at the Bilgin shipyard in Türkiye's capital, Istanbul.

Spanning 263 feet, the superyacht showcases Bilgin's signature style – think razor-sharp exterior lines and a super-slender profile – with naval architecture by Turkish studio Unique Yacht Design. It's the third unit of Bilgin's 263 Series and the most advanced of the trio.

Silent by name, silent by nature: the superyacht was sold to a mystery owner in 2022 and the selling price hasn't been revealed. But it won't have come cheap, that's for sure.

Dreamed up by London's H2 Yacht Design, the modern interiors of the boat whisper quiet luxury. The eight suites (including three VIP cabins) can collectively accommodate up to 12 guests, and there's space for 18 crew members. Al Reem's amenities are top-notch too, with the beach club, gym, and movie theater just some of the standout features.

Project Vento: Cost unknown

Just weeks after Project Toro was sold in 2021, Turquoise Yachts found a buyer for Project Vento . As is the case with Project Toro , the identity of the owner and the price tag have not been divulged.

At 285 feet long, Project Vento is the largest superyacht ever built by Turquoise, with the company teaming up with long-time collaborator London's H2 Yacht Design to work on the boat's esthetics. The result? A distinctive two-tone white and blue exterior with soft, flowing lines.

The interiors are just as eye-catching, with the superyacht boasting a wealth of features.

For the billionaire who has everything, there's a helipad that can also be used as an outdoor movie theater and basketball court. But the pièce de résistance  has to be the incredible 21-foot glass-sided swimming pool on the lowest deck.

Project 1012: Cost unknown

With the venture cloaked in mystery, Feadship hasn't released any renders of Project 1012 and has yet to disclose information about the team behind it.

Based on images of the vessel undergoing trials in December 2022, Megayacht News has speculated that it could be traditional in design and may feature a beach club. However, these details won't be confirmed until the superyacht is delivered sometime this year – so watch this space...

Project 1012 is another Feadship superyacht that's slated for delivery in 2024.

The shipyard is being particularly secretive about the vessel, with details extremely sketchy. While we know that the superyacht is 300 feet long, further information about the vessel is next to non-existent.

Project JASSJ: Cost unknown

Spanning 338 feet, Project JASSJ  is the third-largest of the show-stopping superyachts German shipbuilder Lürssen is delivering in 2024.

Sold in 2021 to an anonymous buyer for an undisclosed price, the superyacht features exterior and interior design by RWD Design. American firm Moran Yacht & Ship is overseeing the build.

Fantastically spacious, Project JASSJ can accommodate 22 guests in 11 staterooms.

Lürssen isn't holding back when it comes to amenities, promising an "industry-leading" beach club, as well as a swimming pool, deck Jacuzzi, top-end gym, and elevator, along with a state-of-the-art helipad and side-opening tender garage.

105 Explorer (NB-729): Cost unknown

Hot on the heels of delivering the 367-foot Renaissance (NB-724) , the largest ever yacht crafted in Spain (and shown here in all its glory), Freire's Galician shipyard is set to complete another whopper:  105 Explorer (NB-729) , which comes in at 344 feet.

Renaissance  has been described by Burgess Yachts as a "temple of leisure" and "sanctum of tranquillity." But 105 Explorer (NB-729) is more about adventure than relaxation...

The superyacht may be kitted out with all the classic creature comforts but, as a roving expedition vessel, the emphasis is on performance rather than amenities.

Reflecting other high-end shipbuilders, Freire has chosen to keep the price of the superyacht a secret in the interest of client confidentiality.

Ace 21: Cost $150 million

Ace 21 is one of four show-stopping superyachts that Germany's Lürssen is delivering this year.

Extending over 256 feet end to end, the glamorous vessel spans five decks – the superyachts we've covered so far have just four – and has been designed to provide five-star relaxation in the world's most idyllic locations. It can accommodate up to 14 guests and a crew of 24.

Lürssen, which has taken care of the naval architecture, has reportedly designed the superyacht so it can cruise closer to shorelines and dock alongside paradise-style beaches and coves.

Ace 21 is all about relaxation – and its designated wellness zone, complete with an extensive spa, beach club, and deck Jacuzzi, combine to make it the perfect place to kick back, millionaire style.

SuperYachtFan reports the vessel was ordered by an unnamed individual who's said to be a prominent figure in the yachting world. The site pegs Ace 21 's price tag at $150 million and estimates annual running costs could stretch as high as $15 million.

Project 825: Cost $186 million

On the other hand, the asking price for Feadship's Project 825  has been revealed.

Due for delivery later in the year, the 249-foot superyacht is currently available for $186 million via Burgess Yachts.

Newly-built vessels of this size and caliber are usually custom orders, so it's rare for one to come on the market. The yacht is likely to be snapped up by a member of the super-rich elite who doesn't have the patience to wait years for a bespoke job .

The turnkey superyacht, which is getting its finishing touches at the Feadship Royal Van Lent shipyard in the Netherlands, has a slick two-tone exterior by Feadship's De Voogt Naval Architects. Its chic interiors are courtesy of Parisian design house Gilles & Boissier.

Project 825 has six staterooms with space for 12 guests, who'll have their every whim catered to by 17 crew members. Among its key selling points are an awesome glass-bottomed swimming pool and a private VIP terrace that boasts its own Jacuzzi.

There's also a sauna, deck gym, games room, and touch-and-go helipad, as well as an elevator. 

Project 712: Cost $200 million+

Feadship is practically churning out superyachts at the moment, with multiple deliveries scheduled this year. Project 712 is among them.

The 272-foot vessel features an exterior design by Feadship's De Voogt Naval Architects. Unlike the aforementioned Project 825 , however, the interiors are the work of top Dutch firm Sinot Yacht Architecture & Design, not French studio Gilles & Boissier.

Because Feadship is selling Project 825 , the price has been revealed – but Project 712 's cost is being kept firmly under wraps. Given its larger dimensions, it's likely to be even more expensive than its sister vessel.

The superyacht has space for up to 10 guests across its five cabins, according to YachtCharterFleet,  and comes equipped with a wealth of billionaire-worthy amenities, including a beach club, a gym, and a deck Jacuzzi.

Project 821: Cost $200 million+

The biggest Feadship superyacht launching this year – not to mention the largest the Dutch company has ever built – is  Project 821 , which spans 390 feet.

Feadship is being as secretive about this superyacht as it is with Project 1012 , with very few details known about it. 

The exterior design is characterized by soft lines, and there's a capacious beach club to the rear of the superyacht that leads down to a swimming platform... And that's all we know. 

Both the buyer and the price of  Project 821 are being kept hush-hush, though the superyacht is likely to have cost considerably more than the smaller Project 825 , which is on the market for $186 million.

Project Deep Blue: Cost $450 million

The second-biggest of Lürssen's four superyachts expected to launch this year, Project Deep Blue may not be delivered to its owner until 2025, according to several expert forecasts.

Details about the project are scant. Even the final length of the superyacht is uncertain, but it's believed to measure at least 427 feet.

No doubt the owner is delighted with the sophisticated exterior design, which bears similarities to Lürssen's Ahpo (now named Lady Jorgia).  

SuperYachtFan reports Project Deep Blue is expected to accommodate 24 guests and a crew of 45. It estimates the vessel would cost a staggering $450 million, with punishing yearly running costs of $45 million. The website has vaguely identified the owner as an Indian or Chinese billionaire.

Project Luminance: Cost $500 million (£392m)

The biggest of Lürssen's four show-stopping superyachts hitting the water in 2024, Project Luminance spans a whopping 475 feet, making it almost as long as three Olympic-sized swimming pools.

The superyacht was originally slated for completion last year, but the delivery date has since been put back. A masterpiece of nautical design, Project Luminance wows thanks to its exterior by Monaco-based Espen Øino and equally elegant interiors by French studio Zuretti Interior Design.

Project Luminance is estimated to accommodate as many as 24 guests across 12 opulent staterooms. Amenities are fantastically lavish, with the vessel reportedly boasting two helipads and a massive swimming pool, which comes complete with an adjacent dip pool.

Reported to cost in excess of $500 million, Project Luminance was commissioned by Rinat Akhmetov, the richest person in Ukraine.

A report in The New York Times in 2022 suggested Akhmetov was considering selling the vessel in light of Russia's invasion of his home country. Still, it appears the billionaire might have decided to keep it for now. And who can blame him?

Somnio: Cost $600 million (£470m)

Putting this year's other launches firmly in the shade, Somnio spans a colossal 728 feet, making it the largest superyacht ever built.

The world's first "yacht-liner," this $600 million floating palace for the mega-rich is billed as "the most exclusive address in the world" and will cruise the planet's iconic yachting destinations, from Monaco to French Polynesia.

Somnio features 39 luxe private residences and a wealth of "six-star" amenities, including an enormous resort-style swimming pool, premium spa, opulent movie theater, gourmet restaurants, 10,000-bottle wine cellar, and a library.

Nearing completion at Norway's Vard shipyard, the six-deck nautical extravaganza is a collaboration between Somnio, Fincantieri, and Vard, while Tillberg Design of Sweden and the UK's Winch Design have looked after the interior design.

The potential occupants of the 39 apartments are being carefully hand-picked. On offer are units with two to four bedrooms, with the option to fully customize them with the likes of a gym, personal kitchen, library, and more.

Those lucky enough to get a Somnio invite can expect to pay from $22 million to secure a cabin in the elite vessel, with service charges likely to be sky-high too.

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