The international guest of honor at Serielizados Fest in Barcelona was the British screenwriter and producer behind Succession on HBO Max. He chose to conclude the series at its peak, a move many believe preserves its impact rather than risk a gradual decline. The conversation touched on the show’s defining achievement as well as notable earlier works.
What stage of grief are you in with Succession?
Perhaps a touch like an uneasy relative waiting to see what an inheritance might bring. Honestly, a strong sense of relief comes from stepping away from the duties of writing the show, running the writers’ room, and planning the next season. There is sadness in not working with the actors and writers again, but there is also a feeling of freedom from having to do it all over again.
Do you feel you chose the right moment to end the series?
Yes. There was agreement with the writers and the closest HBO executives. Early on, the decision felt right, and during filming a new realization emerged. It raised questions like could the path have evolved differently, could the story have gone further? In the end, the creators agree the ending is organic and natural.
When did Tom Wambsgans become a contender for the final successor?
From early in season four, the sense was that Tom could carry the burden, but there were other possibilities too. By season two, the actor was urged not to be merely a supportive clown but to express a genuine desire to take charge someday. The arc shows power can be achieved through a benevolent facade as much as through aggression.
One strong reason for ending the series, as noted in the season four scriptbook, is the clear global shift in media power toward technology. The landscape has changed dramatically, especially in television and film. Traditional media companies needed to become broadcasters to survive, and now many are experimenting with combining advertising with broadcasting. The show began with a different kind of original company than the one it ended up with.
Did you like the ending of Rupert Murdoch’s succession?
Unlike the fictional world of Succession, this real-life saga could unfold for many more years. Murdoch has emphasized that he would not abandon News Corp and Fox Corp entirely in his resignation as chairman. He remains chairman emeritus of both organizations. If the writer were Lachlan, a habit would be to seek counsel from his father before crucial moves are made.
There was chatter about a Vanity Fair piece from April suggesting Lachlan indicated to Rupert that his younger brother was leaking stories to Succession writers. That wasn’t the approach used for research in this project. Readers are invited to explore Vanity Fair and related books for further context, though the production relied on other sources.
Inevitably, discussions about Serielizados Fest and the early 2000s telecomedy Peep Show resurfaced as part of the broader conversation about rights and availability. The decision to revive or preserve legacy comedies is always delicate; audiences can grow tired quickly if a show tests their patience. The team believes fresh energy is essential to staying engaging.
The work was previously done with Sam Bain on many projects. This time, an American-style writers’ room was piloted, and it proved to be an enriching experience worth remembering.
What is the current project focus?
Nothing definitive at the moment. Numerous ideas exist in the studio and office, but there is no immediate commitment. A stop at the Copenhagen TV festival preceded the Barcelona visit and a trip to Madrid was on the schedule. After years of avoiding focus on Succession in interviews, attention has turned more toward the series itself, with a promise to return to developing new material when the time is right.