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Both traffic in arcane business disputes (hostile takeovers and shareholder meetings, land and water use rights). Both patriarchs prefer to travel via helicopter, while the offspring (three sons and one daughter, the hardest of them all) compete for attention and approval. Both have established lush visual motifs to communicate elevated ambitions – for Succession, airy and impersonal luxury suggest the utter soullessness of mega-wealth; for Yellowstone, wide-shots of mountainous country and unsparing depictions of ranch work argue one’s land is the soul worth fighting for. Yellowstone’s conservative ethos has led some commentators to champion it as a rebuke of liberal media – the former View host Meghan McCain, for example, attributed its success to being “not woke”, and several outlets have labeled it “prestige TV for conservatives”. Which is true, to an extent; Yellowstone is conservative in the lower-case sense, as in its main preoccupation is a sense of a way of life (that being white ranch owners) under threat by progress, outsiders and a changing culture. “I don’t know if it’s a uniquely American fear or just a human fear: the fear that a way of life is ending,” Sheridan told the New York Times in late December 2021. “It’s what drives our politics right now. I think it’s a massive theme, this fear of losing someone that you love or a place that you love. That’s pretty universal.” But for all the cultural fixation, Succession only pulls a fraction of Yellowstone’s audience. The Emmy-winning drama drew its largest audience to date, 1.7 million viewers across all platforms (including HBO Max), for its third season finale in December, largely concentrated in major cities where it has grown as a word-of-mouth hit (and meme generator) for the online; 73% of its audience for the recent finale were located in so-called A markets such as New York, Los Angeles and Chicago.

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