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It doesn't end with Kendall's birthday party breakdown: much of Kendall's character resonates with young women. 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 I ask if it’s hard for him to maintain a distance from Cox off camera, given how friendly he is in real life. 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.

It’s easy to forget that when we first meet Shiv (Sarah Snook) in season 1, she was dressing (and behaving) with an entirely different set of motivations. She’s a political advisor for a left-leaning Democratic candidate who, as Matland reminds us, “does not want to be seen as a Roy.” 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. 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.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 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. 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.

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. In an effort to isolate the parts of Kendall they find relatable, young female viewers have created their own version of Kendall decontextualized from the show. They're forcing representation in a place it doesn't exist and consuming Succession in a way it isn't intended to be all in a tongue-in-cheek manner. And it's entertaining and subversive to contort a powerful, fictional man into a teenage girl. Strong was born and raised in Boston. His mother was a hospice nurse and his father works in juvenile justice, “so I couldn’t have been further away from the world of Succession”. As a child, he says, “I never felt able to take up space in the room.” But when he was on stage, he was liberated: “It was just this abracadabra where you’re free from your inhibitions, the way you’re perceived by others and even the way you perceive yourself. I think acting, for me, was a way to disappear from my normal social self and also a way to appear more forcefully. Honestly, I don’t know what I’d do without acting.”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. It's kind of fun to watch a powerful man have the same sort of demeaning experiences that you've had. 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.