TV
Money, golden showers and the dark heart of humanity: Industry is TV’s most grown-up show
When Game of Thrones first aired, back in 2011, it did so with a parental advisory rating warning for “strong violence, gore, sex, sex references, nudity and language”. It was, in short, made for adults. But by the time that show ended, its audience seemed largely composed of teenage boys, hopped up on a heady cocktail of dragons, zombies and boobs. I wonder, then, what those same viewers would make of the sight of that show’s hero, Jon Snow (Kit Harington), receiving a very specific form of adult shower in the new season of the BBC’s banker drama Industry? In a world of swords and sandals, capes and cowls, this really is television for grown-ups (just don’t watch it with your parents).
Having successfully stripped the Square Mile of any remaining aspirational glamour, Industry returns this week for its third season. In the years since the show was commissioned, the tide of TV seems to have turned, leaving Industry an immutable, urine-soaked rock, battered by the retreating shoreline. The show has always been that rare thing: a drama that doesn’t compromise for the sake of its audiences. Its pilot episode kicked things off with a piece of misdirection, following a character who, by the end of the episode, would be dead. Arriving on BBC One with full HBO credentials, and Girls creator Lena Dunham directing the opener, it was a stark mission statement. This wasn’t going to be a simple black comedy lampooning the artificially high-stakes world of corporate finance – it was going to stare into the dark heart of humanity. What’s followed is three unflinching seasons: characters who make bad, selfish decisions and hurt one another, a professional milieu of almost grotesque vapidity, and an alienating landscape of arcane jargon and bullpen manoeuvring.
But would anyone take a punt on a project like this now? “I think Industry increasingly seems like a Black Swan event,” the show’s co-creator, Mickey Down, tells me. He’s referring to the famous allegory of risk analyst Nassim Nicholas Taleb, about unpredictable outliers. “Even when we got the show commissioned, it felt like a Black Swan event, but now, the idea of us getting to make something like this on HBO or any major network is just totally for the birds.” In its place, according to Down’s co-creator, Konrad Kay, are “big tentpole things, with big tentpole names, that are going to attract an audience: that’s where we’ve got to now, because people are basically just scared.”
But the fear itself isn’t entirely new, and Industry was a real risk for HBO back in 2017, when it was announced. Down and Kay were TV novices, coming off the back of a few years spent as traders in the City. Handing them the keys to a primetime show (“The 9pm Sunday timeslot,” comes Kay’s appraisal, “still holds lots of sway in terms of cultural cachet”) was the sort of knife-edge decision that Pierpoint, the fictional investment bank in their show, pays its analysts top dollar to consider. And yet it happened, just a year after HBO had also ordered a pilot for Succession – a similarly insiderish, grown-up look at media oligopoly, and a show that, despite being its contemporary, Industry is often aptly touted as a successor to. But for all the garlands and rave reviews, Kay points to a problem. “A show like Succession is a cultural behemoth, but compared to something like Yellowstone, it’s a niche experience, a niche show.” And so, such adventurous commissioning decisions started to feel less swanlike, and more dodo-esque.
The rise of streaming has also seen a commensurate tendency for platforms to forgo fresh ideas and instead squeeze their existing Intellectual Property (IP) like they’re attacking the last remnants of a travel toothpaste. Disney has released numerous shows within the Star Wars universe (The Acolyte, The Mandalorian, Ahsoka, Andor, Obi-Wan Kenobi, The Book of Boba Fett etc), while its exploitation of the Marvel back catalogue is equally comprehensive (WandaVision, Agatha All Along, Secret Invasion, Hawkeye, Ms Marvel etc). Across the channels, some of the biggest shows of the past couple of years have been offshoots of major franchises – House of the Dragon or Rings of Power – or adaptations of video games, like Fallout, The Last of Us, Halo or Resident Evil. And this trend isn’t going to change any time soon: spin-offs from Suits, Dexter and Daredevil have all been announced for 2025, while there’ll be new instalments from the worlds of George RR Martin and Stephen King.
Over on HBO, for which Industry has been a critical darling if not an enormous ratings success (the second series averaged 1.4 million viewers per episode in the US, compared to the 7 million who would tune into Young Sheldon), September’s big new title, The Penguin, is part of the infinite Batman saga, and the start of a new commitment between HBO and DC Studios. “There’s way less risk being taken,” Down says of the TV landscape at large. “There’s way less appetite to develop new ideas.” The fact that HBO still adopts a linear model, broadcasting shows via weekly episodes in a specific timeslot, might account for its commitment to more grown-up programming. The demographics for more traditional modes of consumption skew older, while streaming platforms (HBO’s proprietary endeavour, Max, is not likely to launch in the UK until at least 2026) cater to younger viewers. “Why would you take a chance on something when it could fail? I think that’s really the attitude at the moment.”
It puts a lot of pressure on Industry, as a bastion of countercultural televisioneering. The third series takes the show into new territories, and Down and Kay agree that it is the apotheosis of the style they’ve been honing across the show’s first two outings. “Even though series two was good, I think it was a slight overcorrection,” says Down, “in that all the stuff that makes Industry interesting was pushed down a little bit in service of plot.” And so this latest chapter combines the uncompromising, authorial vision of the show’s “punky”, in Kay’s words, debut with something more accessible. “I feel like there’s a looseness to [season three],” Kay adds. It is a looseness that takes the show in diverse narrative and subtextual directions. In addition to seeing Jon Snow getting weed on, the drama explores the fallout from abusive familial relationships, the spiral of addiction, and, as ever, the cutthroat world of financial wheeler-dealering. “I think [the new season] makes a little bit more of a concession to intelligibility, fun, entertainment,” confesses Kay. “All of the stuff people actually do want TV to be.”
One of these concessions was the casting of Harington as the show’s first legitimate “star”. “He slipped into Industry with zero ego,” says Down. But Harington’s character – a fragile entrepreneur called Henry Muck – has little of the square-jawed, brooding intensity of his Thrones role. Muck is another in Industry’s long line of weak, self-destructive men. In this latest season we see Robert (Harry Lawtey) grappling with his place at Pierpoint and in the world, Eric (Ken Leung) spiralling out of control, and Rishi (Sagar Radia) becoming the focus of an episode that makes The Bear seem like a stress-free brain bath. This is a macho world dealing with the end of unchecked masculinity, and while it is often painful to watch, it is also starkly funny. “As Kit said himself,” explains Down, “in 10 years on Game of Thrones he didn’t tell one joke. He was playing the most earnest f***ing bloke on the planet!”
From earnestness, Harington turns now to something more cynical. Even if the world of high finance occasionally feels like watching droids on a spaceship, most of Industry is set on something recognisable as planet Earth. Our fears, our emotions, our failings; ambition, jealousy, greed. With its third season, Industry has cemented its place in the sweep of TV drama, as something maturely terrestrial that avoids the temptation to treat its viewers like children.
‘Industry’ season three is out now on BBC iPlayer
TV
Gogglebox star reveals smashed up car after terrifying accident and accuses driver of ‘faking heart attack’ as an excuse
GOGGLEBOX star Roisin Kelly has been left fuming after her parked car was written off by a reckless driver.
Roisin, who is an armchair critic with her boyfriend Joe Kyle on the Channel 4 hit, showed photos of her car rammed into a tree after the terrifying accident.
The Gogglebox star accused the other driver of faking a heart attack as an excuse.
Snaps revealed her smashed up motor with glass and debris after another car slammed into the back of it and pushed it into the tree.
She said: “We weren’t in the car.
“But what was more irresponsible was the driver.”
Roisin explained the motorist had been driving at a speed “attempting to break the sound barrier” and was “clearly on his phone” when he rammed into the back of her vehicle, which she had affectionately called named Adam.
Roisin continued: “(The driver) sent my beautiful little Adam to the car park in the sky.
“He was clearly on his phone and also simultaneously attempting to break the sound barrier.
“(He) got out, faked a heart attack, and when he was getting oxygen got a taxi home.”
Roisin Kelly and hilarious boyfriend Joe Kyle were the first Scottish armchair critics to appear on the Channel 4 hit in six year.
Away from the Gogglebox Roisin has hosted a podcast titled Nags and Brags, which is making a comeback.
She’s also found sharing TikToks of her outfits and items she’s selling on Vinted.
Away from the small screen, Roisin has racked up a loyal following of 56,000 TikTok followers with her fashion tips and outfit choices.
And the social media producer regularly posts her work wardrobe picks.
In her recent video, Roisin admitted she had “good visions” for a recent outfit.
She paired a baggy white top with a denim tie-front gilet, red striped beach trousers and red Adidas gazelles.
“Last night I thought this will be so cool”, she said.
“But I feel like I look like the baddie, or maybe the love interest actually in a pantomime. I look like the boyfriend from Tangled.”
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TV
New Bridgerton lead Yerin Ha reveals shock moment she was cast
Bridgerton’s new season four star has described the emotional moment she was told she’d been cast in the hit Netflix show.
Yerin Ha, 29, who is best known for playing Kwan Ha in Halo and will appear in the forthcoming Dune: Prophecy series, will take on the role of Sophie Baek for the regency drama’s latest season about the love life of the second-oldest Bridgerton brother, played by Luke Thompson.
Ha, a Korean actress from Australia, said she was out for breakfast with her mother in Seoul, South Korea, when she received the news in a shock phone call.
In a YouTube interview with Shondaland, Ha was asked how her family and friends reacted when she told them she would be starring in Bridgerton season four.
“So, when I got the role, I was having breakfast with my mom at a cafe in Korea,” she replied.
“I stepped outside and it was so funny ‘cause she kind of knew immediately when I was jumping on the streets of Gangnam that I got the role.”
Ha’s mother was so excited by the news that she quickly needed to leave the restaurant they had been eating in.
“She came out crying, and then after the phone call, she was like, ‘We gotta go home. I think I have indigestion,’ and so we left,” Ha said.
“It was really beautiful to kind of, I guess, share that moment with her.”
Ha was announced as part of the Bridgerton cast on social media in September. The actor told Tudum at the time that Benedict’s love interest was called Sophie Beckett in Julia Quinn’s Bridgerton book series but the character was given a Korean surname out of respect for her culture.
“A name is the first bit of identity that you share with the world, and that’s why changing a name can be so powerful,” she said. “To make Sophie’s name fit someone who looks like me is really empowering. All credit to Jess Brownell, our showrunner.”
“It’s a really nice way for me to feel like the role is fit for me, rather than me having to fit a certain mold. It’s amazing what it can do just in a psychological sense. So it means a lot that Jess did that for me.”
Of her initial interest in the role, Ha added: “What drew me to Sophie was that she immediately has obstacles — something that she constantly has to overcome. Whether it’s this battle around social status or trying to hide her feelings from Benedict.”
Netflix is yet to confirm a release date for Bridgerton season four.
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TV
Agony aunt Deidre Sanders reveals her breast cancer has returned as she urges This Morning viewers to get checked
AGONY aunt Deidre Sanders has revealed her breast cancer has returned two years after she was first diagnosed.
The TV star shared her “shock” diagnosis on This Morning today.
She told hosts Cat Deeley and Ben Shephard she had no symptoms and it was detected through her scheduled mamogram.
Deidre, 78, said: “No I haven’t had symptoms, I haven’t felt run down I haven’t felt tired it’s purely down to having the mammogram that showed it.
“And then you get referred back and I had a biopsy, and then it revealed it was cancer.”
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