Stasis and non-resolution can themselves be aesthetic principles against immediacy.

Evidence

Through its impersonality and scale, the show’s great gambit is its underlining of what holds in place across acts: stasis is high. … For three full seasons, billionaire patriarch Logan Roy never dethrones; no successor unproblematically ascends; the form of the plutocratic firm maintains. In the final season, the equally plausible and equally implausible claims to power by the would-be successors and paths to partnerships with would-be acquirers or acquirees propel suspense while stabilizing the firm form. Money does not smell, and the rectilinear corporation, affixed by the medium-distance, midline-composed shots, presses on. No matter who’s on top, business is business. For achieving this idea, the show invites different engagement than identification and crafts itself differently from expressivism: distantiation and form-thinking are its aesthetic principles. Immediacy absorbs and flows, but mediation rouses and lurches, ostentating medium, keying the arbitrary and formalized processes of successions. — Anna Kornbluh, Immediacy, or The Style of Too Late…, 361

Categorization

• DEFINE: Defines ‘hold’ as structural stasis — anticlimactic continuity that refuses immediacy’s resolution-and-flow.
• QUESTION: ‘Immediacy absorbs and flows, but mediation rouses and lurches’ — is this a genuine oppositional taxonomy or rhetorical polarization worth pressing in the Antitheory fight?