A family is a mythology. It tells itself a story to survive. The Secret Keeper is the one who knows the story is a lie (Dad isn't a war hero; he's a deserter; Mom isn't sick; she's an addict).

See a list of that master these themes?

The family's youngest son, Michael, has just been released from prison after serving time for a crime he committed as a teenager. His return home sparks a chain reaction of emotions and confrontations, as each family member grapples with their own feelings of guilt, anger, and resentment.

Money is not the root of evil in family dramas; it is the lie detector. When a fortune or a business is on the line, every character reveals their true valuation of the family unit. Succession perfected this, showing how a vague promise of "maybe one day" turns siblings into assassins. The complexity here isn't greed; it is the confusion between love and transaction. Does Dad love me, or does he just want a competent CEO? Do I want the throne, or do I want Dad’s approval? You cannot separate the two.

Writers do not need to explain why two brothers dislike each other. Decades of shared childhood rooms and holiday arguments are instantly understood.