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When you have young girls who are entering a society that doesn't want them to win, they see that in Kendall because his dad is never gonna let him have what he wants," Hayley Loftus, a 21-year-old film and marketing student in North Carolina and proud owner of a Kendall t-shirt that says "taking a break from feminism to serve my king," explains to Mashable. The way Kendall is posted about in these circles is similar to the way in which online culture has fixated on certain discontent, complex, female characters like Fleabag, Sally Rooney protagonists, and the narrator of My Year of Rest and Relaxation, among others. The Roy family’s collective wardrobe has been brilliantly thought up by Succession’s costume designer Michelle Matland, with the direct intent of expressing the soft power of the show’s lead characters. Matland’s are clothes that afford the money-motivated weirdos who wear them a subtle potency; the ability to convey status and supremacy without needing to say a word – though, invariably, there's always plenty to say.
There have been times when it has felt really hard, but if the character is going through an ordeal, and you want the audience to experience that, then you can’t spare yourself. I have a belief – and this may be a fallacious belief – that it has to cost you something,” he says. Then he adds something that could be both Kendall’s personal mantra and a description of Strong’s work ethic: “I need it to be difficult.”There's popular Kendall merch: t-shirts and tote bags in the style of Twilight that read, "Team Kendall." One prevalent t-shirt displays Kendall's face framed in a heart with the bright pink text, "I can fix him." When Smart-Denson watched the pilot episode, in which Kendall has a silent, complete meltdown in the bathroom during a family lunch, she was sold.
Oh no! Laughter isn’t even on the cards – it couldn’t be! Because the rap was sincere, it’s committed. I don’t feel as if I’m doing a scene for Brian Cox, I feel as if I’m rapping for my dad,” he says. Succession was a show about many things: money, power, destiny. It was also a show about clothes—and namely, how the wealthiest people in the world wear them.
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He has many of them. Everybody buys them for him for his birthday and Christmas and he has a closet full. He probably has his four favorites,” she says. “And they’re just to say, ‘I’m home. I’m off.’ He has no pretense because he has nothing to prove to anyone…He’s the king at home. He can take the crown off.” 12. Kendall’s Lanvin sneakers (season 1, episode 8) Strong looked at pictures of plane crashes to put himself ‘in the right place’ for the scenes about the financial crash in The Big Short. Photograph: PictureLux/The Hollywood Archive/Alamy When he’s making Succession, Strong largely stays separate from the other cast members to maintain the dynamic of the show in which Kendall is emotionally disconnected from his family. “It’s not like I stay in character, but you need to believe in what you’re doing and take it seriously. I don’t know how you can do that without going all out. Also, for me, the creative self and social self are entirely separate. I have a lot of armour and anxieties in my social self, and I have to strip all that away to engage my creative self,” he says.
When Sorkin cast him in The Trial of the Chicago 7 as Jerry Rubin, the countercultural activist, Strong prepared by “taking all these gummies [edible cannabis], going to Lincoln Park Zoo in Chicago and listening to the Grateful Dead. It was a palate cleanser after Kendall.” During the courtroom scene, in which Rubin, fellow activist Abbie Hoffman (Sacha Baron Cohen) and others were accused of crossing state lines to incite anti-Vietnam riots, Strong, in the spirit of Rubin, brought an “assortment of period noisemakers” to disrupt proceedings. After Sorkin irritably asked him to please stop clanging his cowbell, he slipped a fart machine on the chair of Judge Julius Hoffman, played by Frank Langella, who was less than amused when he sat on it. We've adopted him," Fola, another young female Kendall fan, tells Mashable. "A lot of his tendencies are relatable to young women," the 23-year-old New York City grad student explains. She points to his 40th birthday party as an example, a Season 3 episode in which he meticulously plans the event only to end up crying and miserable. Crying on your birthday is a common trope of disaffected womanhood. I ask him if it’s possible that he does too much for his work. Does he really have to take on all of a drug addict’s pain to play a drug addict? Blazer and shirt, by Geoffrey B Small, from bluemountain.school. Photography: Simon Webb. Styling: Helen Seamons. Fire Specialist: Matt Strange. Grooming: Sam Cooper at Carol Hayes management using Kiehl’s. Photographer’s assistants: Sam Brown and Jake Newell. Stylist’s assistant: Peter Bevan
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Within a few more minutes, he’s quoting acting inspiration he gleaned from TS Eliot’s Four Quartets, Hamlet, Cy Twombly, Chekhov and “Dustin Hoffman quoting Jacques Cousteau – I think about this quote all the time: You have to know how far to go to go too far.” (I think this is actually a version of an Eliot quote: “I do not see how anyone can go very far … who is not ready to risk complete failure.” But who am I to argue with Strong, Hoffman and Cousteau?) “I remember things that are instructive. They are like northern lights for me,” Strong says.
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