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    Succession as a Greek and Shakespearian Tragedy

    Analyze the ways in HBO series succession follows a traditional tragedy structure in both the Ancient Greek sense and Shakespearean sense. A tragedy is a play based on human suffering, primarily concerning tragic events that befall the main character. The intention of tragedy, as understood by Aristotle, is to provoke catharsis in its audience. Catharsis is a release of emotions that comes with seeing others undergo painful or unfortunate circumstances. It is the pleasure of intense emotion with the relief of not undergoing the suffering oneself. Both Greek and Shakespearean tragedies tend to focus on the downfall of a protagonist who holds a high position in society. In the case of Succession, the main character, Kendall Roy, is the son of the CEO and founder of the largest multi-media conglomerate in the world. The plot itself is reminiscent of King Lear, as Logan Roy ages and must consider which of his three children is fit to take over his immensely successful business as he ages (though whether or not he is actually willing to give up his position of power is uncertain). Kendall’s dreams of taking over the company are continuously derailed, no matter how hard he tries he is denied this one desire that he believes to be his birthright. Are there other aspects of Shakespearean tragedy that present themselves in the show? For example, there is considerable comic relief throughout the whole show, a feature not present in Greek tragedies. Is it more like one than the other? In what ways does it differ from these archetypes, and what significance do these divergences carry? Many consider it to be a comedy, how does the entwining of genres contribute to the complexity of the show, and the message it sends to its viewers? How does it merge traditional media with the problems and techniques of modernity?

    • Tragedy had elements of comedy from the time of the 16th to the 19th (maybe very early 20th) centuries. Vice verse as it pertains to comedies. – J.D. Jankowski 2 years ago

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    Latest Comments

    One of the things I do love about the Simpson’s that they do better than most other shows is make fun of their parent company– Fox– pointing out the dangers of their news platform and the disinformation they spread and fear-mongering they thrive on. It’s not much but it’s nice to see that writers aren’t being completely muzzled (although I do wonder if this is simply Fox internalizing/cannibalizing its own critiques in order to appease its naysayers).

    The Legendary and Cautionary Tale of The Simpsons

    I agree that Booktok is certainly a powerful phenomenon, but it seems to be contributing increasingly to this idea that we can define ourselves/our identities by the content we consume. It perpetuates the cycle of the algorithms, which separates us from people with different viewpoints and only further entrenches us into our own ways of thinking. While it’s good that we are becoming more educated and hopefully more able to articulate our points by reading more and learning more deeply, I wonder if it’s for the best that we base our readings on recommendations from a platform designed to make money off of our addiction to content and the spread of mis/disinformation, and dividing us as people.

    BookTok Influencers and Their Impact on the Publishing Industry

    The creature is definitely the hero of the story, in my opinion, whereas Frankenstein serves as more of an anti-hero. The assembling of the Creature from dead humans also positions him as a sort of Jesus figure, raised from the dead but turned monstrous by the disrespect and rejection of his creator. I’ve written a few papers on Frankenstein but have yet to explore the specific Jesus-Creature allegory angle (though I have thought at length about the God-Frankenstein and Adam-Creature analogy, obviously the Creature’s reading of Paradise Lost lends itself primarily to that), so thank you for inspiring that train of thought!

    Victor Frankenstein and his Daemon: A Study of their Dialogue