|DAVID FINCHERMINDHUNTERSEASON 3|
“Succession” is one of HBO’s most acclaimed drama series and an Emmy frontrunner in 2020, and its popularity has been bolstered in part by its addicting opening credits sequence. The 90-second sequence is set to Nicholas Britell’s Emmy-winning original theme music and cuts together footage of the New York City skyline with home video footage of the Roy family. The grainy home videos remind viewers about the privilege and isolation of the Roy family at the start of each episode. It turns out this now-classic opening credits sequence owes a lot of credit David Fincher, who crafted virtually the same sequence to open his 1997 mystery thriller “The Game.” Both openings have been embedded in videos below.
An eagle-eyed Reddit user recently noticed the similarities between the “Succession” and “The Game” opening credits and brought it to the attention of viewers. Fincher’s 1997 movie begins with grainy home video footage that fills in the backstory of protagonist Nicholas Van Orton, played in the film by Michael Douglas. The clips show Nicholas as a child and his father at the latter’s 48th birthday party, the event where Nicholas’ father committed suicide. The editing, courtesy of James Haygood, cuts the father out of the home videos later in the sequence to reflect his death, similar to how the “Succession” credits removes the faces of the Roy parents to show their disconnection from their children.
“The Game” opened in between Fincher’s “Seven” and “Panic Room” and remains one of the director’s most underrated directorial efforts. Out of all of Fincher’s films, “The Game” is the one that gets talked about the least despite strong reviews and box office nearly $110 million on a $70 million production budget. Anticipation for “The Game” was high since Fincher was coming off “Seven,” so many at the time saw the film as a step down for the director. The plot follows Douglas’ Nicholas after he accepts an offer to compete in a life-changing game, but the game ends up destroying Nicholas’ sense of what’s real and what’s fake. The supporting cast includes Sean Penn, James Rebhorn, Deborah Kara Unger, and Carroll Baker.
Watch the openings of “Succession” and “The Game” in the videos below. It’s only a matter of time before a Fincher fan sets “The Game” opening to Britell’s “Succession” score.
A shameful piece of Atlanta’s history is now the subject of two major television series. Sometimes known crudely as the Atlanta child murders, the story follows the murders of at least 30 African American teenagers that decimated Atlanta during the ’70s and ’80s. The semi-unsolved case was the subject of David Fincher’s “Mindunter” Season 2, which offered little in the way of answers but brought renewed attention to the horrific events. In spring 2019, the city of Atlanta announced it was re-opening the case.
HBO will explore the tragedy and the new investigation in a five-part documentary series, “Atlanta’s Missing and Murdered: The Lost Children,” which just released its first official trailer.
The official synopsis reads: “‘Atlanta’s Missing and Murdered: The Lost Children’ offers a never-before-seen look at the abduction and murder of at least 30 African American children and young adults that occurred over a two-year period in Atlanta in the late-'70s and early-'80s, from the initial disappearance and discovery of two murdered teenage boys and the fear that gripped the city, to the prosecution and indictment of 23-year-old Atlanta native Wayne Williams and the rush to officially shut down the case. With unprecedented access and a treasure trove of archival material, this timely documentary series brings new evidence to light as the cases are reopened, providing a powerful window into one of America's darkest chapters.”
The series was directed and produced by the Emmy winning documentary studo Show of Force “Marina Abramovic: The Artist is Present”, and counts Jay-Z’s Roc Nation and John Legend as producers.
As shown in “Mindhunter,” authorities arrested and convicted former club promoter Wayne Williams in 1981 for the murders of the adults after fibers from his home and car were found on the bodies. Police suspected Williams was also responsible for the child murders, but there was no evidence.
In 2019, Atlanta Mayor Keisha Lance Bottoms and Atlanta police chief Erika Shields announced that they would be retesting evidence from the child murder case, noting that DNA testing has advanced monumentally since 1981.
“[We hope] to let them know that we have done all that we can do ... to make sure their memories are not forgotten ... and in the truest sense of the word to let the world know that black lives do matter,” Bottoms said.
The series will drop on HBO on April 5. Check out the trailer for “Atlanta’s Missing and Murdered: The Lost Children” below.
When “Killing Eve” began, its title’s threat, promise, or intimation however you want to read it felt immediate — as if in any episode, at any moment, intelligence officer Eve Polastri Sandra Oh could fall prey to the inventive assassin Villanelle Jodie Comer. But such immediacy inevitably mitigated; success demanded extending their story, and the plot twisted itself into knots so the cat and mouse could work together and two award-winning stars could share the screen. A forbidden romance became a dysfunctional relationship, and the enticement of inexplicable attraction turned into a confounding inability to explain why this cop and this killer are drawn to one another.
Season 3 wisely stops trying to explain it, but it also simplifies the story to an all-too-comfortable degree. “Killing Eve” has always been a procedural at heart, first as Eve studied Villanelle’s murders to get closer to her, and then as they teamed up to track down a new, unknown killer. As much as its serialized aspects made the BBC America drama out to be a new kind of crime show, the bones of a procedural have kept it alive. Serialization got everything twisted up, and procedure is the work of detangling. What’s left may not provide the anything-can-happen rush of early episodes, but for those happy just to spend a little time with their favorite ex-agent and ultra-assassin, “Killing Eve” Season 3 should suffice. For those looking to be wowed week-in and week-out, well, it’s just not that kind of show anymore.
To say much of anything about the first five episodes would send us into spoiler territory, so here’s what can safely be said about where Season 3 stands. For one, Eve is alive. As if there was any doubt following the would-be Season 2 cliffhanger, the bullet that struck Oh’s lead detective passed through her body safely enough to keep her breathing. Now, the former MI5 and MI6 operative is tearing up chicken gizzards and pinching together dumplings in the back of a restaurant, hiding from her former life as much as her former love.
Villanelle Comer, meanwhile, is looking to be promoted. Her handler, Dasha played by new cast member Dame Harriet Walter, helps facilitate a management training period, but anyone should be able to imagine why a solo artist like Villanelle might struggle caring for others. Still, Season 3 is another Villanelle-forward entry. Perhaps new showrunner Suzanne Heathcote recognized the enticing complexity of a remorseless murderer, or simply how brightly Comer shined with the added spotlight last year. No matter the reason, Eve isn’t just kept in the back of the restaurant — she’s taken a backseat in the show. Villanelle even gets a standalone episode at the season’s midway point, right after Eve’s most substantial moment yet.