In accepting the drama award, creator Jesse Armstrong began by making a quip that “it was a big week for successions,” referencing King Charles III.
After sitting out last year’s ceremony because of pandemic delays, the third season of the HBO series, as widely predicted, wasted little time in reclaiming the drama throne from “The Crown.” (“Succession” won the same award for its second season in 2020.)
“Succession” headed into this year’s Emmys as the most-nominated show with 25 nods, including writing and directing. “You don’t care much for a stranger’s touch/But you can’t hold your man” or “Sometimes to keep it together/You got to leave it alone.” Over the entire narrative, time looms as the main enemy: “You never thought you’d be alone/This far down the line” “And the hours go by like minutes” “And the years keep rushing on.In an industry that has seen its share of intriguing shake-ups and merger drama over the last year, TV’s buzziest satire of the media landscape, “Succession” - HBO’s chronicling of the high-stakes saga of an American global-media family - won the prize for drama at the 74th Emmy Awards on Monday, beating out an eclectic mix of competitors that ranged from bloody worldwide sensation “Squid Game” and electrifying Gen-Z drama “Euphoria” to social media water cooler breakout “Yellowjackets” and recently concluded critical favorite “Better Call Saul.” “Oh my God, you can’t believe/It’s happening again,” he sings, suggesting that she’s been down this lonely road too often before. Henley and Frey pepper the lyrics with couplets that balance West Coast wisdom with heartfelt empathy: Henley’s performance brims with emotion, from resigned low notes to anguished highs, as he labors to get through to a girl trying to make peace with both the unfulfilled expectations of her youth and the realization that “autumn leaves” are suddenly surrounding her. Don’s singing abilities stretched so many of our boundaries. You’re not going to find that track on a Crosby, Stills & Nash record or Beach Boys record. We did a big Philly-type production with strings - definitely not country-rock. He could stand out there all alone and just wail. I sent for some sheet music so I could learn some of those songs, and I started creating my own musical ideas with that Philly influence. As Frey wrote in the liner notes to The Very Best Of The Eagles, “I loved all the records coming out of Philadelphia at that time. Perhaps the most left-field departure of them all was “Wasted Time,” a song where co-writers Glenn Frey and Don Henley dared to display their blue-eyed soul. The album found room for the sinewy mid-tempo groove of the title track, the crunching rock of “Victim Of Love” and “Life In The Fast Lane,” and the epic sweep of “The Last Resort.” But the addition of Joe Walsh on guitar allowed the band to spread its wings, so to speak, on Hotel California. Early hits like “Take It Easy,” “Tequila Sunrise” and “The Best Of My Love” certainly fit the bill.
Up to that point in their career, it would have been fair to lump the band within the genre of country-tinged soft rock. In addition to the obvious fact that it’s just a top-notch collection of songs, one reason for its preeminence in the band’s catalog is that it showcased their versatility. Critics, fans, and the band themselves are in general agreement that 1976’s Hotel California represents the peak of The Eagles’ illustrious career.
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