This Is Not for Tears
In the episode, the Roys attempt to decide who to sacrifice as a public scapegoat in the fallout of a sexual misconduct scandal that has put the future of the company in jeopardy.
Laird claims to Logan that the deal to secure financing from Eduard Asgarov's family was successful and will allow Waystar to go private, but Roman admits the agreement is likely spurious.
Laird, who was seeking to profit off the Turkey deal, reminds the others of the legal consequences if Waystar remains public, and leaves the yacht for the others to resolve the dispute amongst themselves.
At breakfast the next day, Logan nonchalantly offers to take the fall for the cruises misconduct, but the others immediately begin debating other options as they gather to the table.
A despondent Kendall suggests that he deserves the punishment for the death of Andrew Dodds, though Logan dismisses that incident as a "No Real Person Involved" case.
The director recounted that the production was initially aiming to rent a less expensive yacht given the challenges of obtaining one of the caliber shown in the episode, and credited HBO with providing the requisite funding to charter the Solandge.
[5] "This Is Not For Tears" was universally acclaimed by critics, who praised Armstrong's writing, Mylod's direction, Jeremy Strong's performance and the twist ending.
On Rotten Tomatoes, the episode has a rating of 100% based on 15 reviews, with the critics' consensus stating, "Guided by Jeremy Strong's brilliant performance, series creator Jesse Armstrong reverses course and delivers a seriously satisfying season finale in "This Is Not for Tears.
"[8] Noel Murray of The New York Times wrote, "this jaw-dropper ending works because the writer Jesse Armstrong sets it up superbly, beginning with that long scene when everybody debates — with hilariously exaggerated politeness — the matter of whose body might best fit under a bus."
Murray compared the family negotiation scene to an episode of Survivor, calling it "a fascinating study of human nature as these people try to save their jobs — and their senses of self — with a combination of strategic shade-throwing and personal appeals.
Collins felt that the episode deftly balanced comedy and drama despite his misgivings about the dramedy genre, and remarked: "The best thing about the finale... isn’t just the catharsis of watching one of Logan’s emotionally abused children (albeit one who committed vehicular homicide) strike back — it’s the show’s apparent recognition that actor Jeremy Strong is the best weapon in its arsenal.
"[9] David Stubbs of The Guardian felt that with the finale, Armstrong has "shown that a series can not only survive but thrive without likeable, moral and sympathetic characters.
