ROMAN ROY:
and your face is giving me a headache.
-SHIV ROY: Oh, thank you. Hi. -(SMOOCHES)
It's been fun to play with Shiv and Kendall
in a way that we're actually trying to get along
and we're trying to be on the same page.
Though there has been a ton of conflict
between them in the show,
all the way through all the seasons,
when the three of them get together,
they can kind of find those moments of connection.
How am I the mature one here?
They're so rare, those moments of unity, aren't they?
So when we find them,
they-- they do tend to be memorable.
The boathouse in the penultimate episode of season one
is one of my favorite scenes.
Can I suggest a hug?
I'm always really attracted to that glimpse
into perhaps a more innocent time,
their adolescence, their childish selves.
And that's one of the reasons I loved episode one,
in that there was a sense of them
having a second childhood, if you like.
New gen Roys, we have a fucking song to sing.
Even when working together for a common goal,
there is still that sibling rivalry
of like, "I hate you. I want you to fail."
It's not like they're hugging all the way through, right?
Their manner of interrelating is harsh jokes
and taking each other down a peg or two.
That's just their family culture.
He might go on a killing spree in 7/11
and you might get your dick stuck in an AI jerk machine.
KIERAN CULKIN:
of what-- what he really hopes family can be,
and I think he loves the idea of working together
and also being a family, and doesn't really want to be torn apart.
ROMAN: I thought we were going for The Hundred.
Small, new, fast on our feet.
Are you scared of fighting Dad?
CULKIN:
scared to go up against Dad in any way.
Tom, last season, said something like...
I've never seen Logan get fucked once.
And Roman is very aware of that as well.
MARK MYLOD:
but there's a contrasting energy
with Logan feeling so isolated back at his birthday bash.
Probably the most depressing birthday party
in the history of birthday parties.
Meet the fucking Munsters.
He's obviously in a bad place with three of his kids.
And if he was asked whether he cared, he'd say no,
but his every gesture, I think, suggests otherwise.
There's always an element--
There will-- There will be a tinge of that regret
because that's the thing that's not resolved,
is his relationship to his children.
It'd be so such much easier for Logan
if he didn't love his children.
And I think there's a part of him that says,
"I wish I didn't feel this way. But I do."
♪ (CONTEMPLATIVE MUSIC PLAYS) ♪
LOGAN ROY:
Thank you, Sir.
You're my pal.
JESSE ARMSTRONG:
I'd say, is quite an unreflective man
having some feelings of reflection.
Colin represents something which is much more neutral for Logan,
because he's not angling for anything,
he's just doing his job.
It's the one thing that Logan respects.
So he feels free with someone who just does the job.
You think there's anything after all this?
He asks him a couple of questions,
but they're really rhetorical questions, aren't they, for him?
He's pretty much decided what he thinks about life after death.
What are people?
BRIAN COX:
He's not happy. He's a misanthrope.
He really doesn't like where human beings are going,
and he feels that they're not worth respecting.
-So everything is a market? -(SCOFFS)
I think there's a few different ways of thinking about this show,
but one way is certainly about-- this is a show about mortality.
And that interests me seeing somebody
who's maybe committed quite a lot of capital
to not thinking about where all human lives go.
And you can keep that at bay for a long time,
but no one can keep it at bay forever.
♪ (SOMBER MUSIC PLAYS) ♪
TOM WAMBSGANS: Hey.
I think a few months has elapsed since Italy,
and where we pick up,
and they haven't talked about it.
Do you want to talk?
The power dynamics and the hierarchy between them has been upended.
I hear you date models now.
ARMSTRONG:
I think in the intervening weeks and months,
he will have realized she knows.
Do you really want to get into a full accounting
of all the pain in our marriage?
I think it's too sensitive for her
to admit that someone played her.
There are some things I wouldn't mind saying
and explaining.
I guess there is a feeling from Tom that, you know,
they need to discuss it at some point.
If for no other reason than for him
to sort of stick up for himself
and explain why he did what he did.
SARAH SNOOK:
that means that she might have to be vulnerable.
I don't think it's good for me to hear all that.
ARMSTRONG:
but, for me, I guess she can't quite stand
to have been so powerless in that moment when she was betrayed,
and doesn't want to go back to it,
even if it would involve hearing an apology
or a-- an explanation.
In some ways, she finds it attractive
standing up for yourself and, like, fighting back.
But I think she needs Tom to be subordinate to her
because it's safer that way.
I could see if I can make love to you.
I don't think so, Tom.
ARMSTRONG:
in a weird way, which is not to throw a punch
or a shoe or anything, or even any words at Tom.
To balance the power again,
then she has to feel just as powerful
with something external from her father,
from the family business.
Yeah. Yeah.
♪ (DRAMATIC MUSIC PLAYS, CONCLUDES) ♪