“I’m not an academic filmmaker,” he said. “Any smarts I might have is instinct and what you might call emotional intelligence.

“I hadn’t thought, ‘Oh, let’s make this a Rembrandt-style shot or something’. That scene [of the three Roys], what it called for emotionally, for me, was stillness. Which is a very powerful tool in Succession, because we don’t do it very often”.

Rembrandt was, of course, active several decades after the Renaissance had ended. Which implicitly confirms what Mylod explicitly said: that he’s no art historian. What he is, though, is a ruddy good cinematographer, who crafted a memorable image of three siblings in a moment of surprising and unprecedented togetherness.

It’s worth adding that the shot of Kendall, Shiv and Roman doesn’t recall a specific Renaissance image or even a type of Renaissance image. I suppose one might, at a push, say a Pietà – but even then, the crumpled would-be-Christ figure of Kendall is being forced to double up, through the act of weeping, as the would-be Virgin.