ickey Down and Konrad Kay, creators and writers of Industry, are in a rare position both perilous and blessed. Their show, about young Londoners working at the brutal end of the financial sector, is a sleeper hit. More and more people have learned to speak its singular language and now, with the arrival of season three, Industry has the floor. The spotlight burns.
The main characters now live together in a beautifully chic townhouse that they can never enjoy because everyone’s always in the middle of a work crisis – it’s like This Life without the cosy domesticity. Top of the stress league table is Yas , the heiress whose investment banking career cannot escape the shadow of her crooked plutocrat father.
“I find I sleep deeper under my desk,” says Muck during an interview with an unimpressed Amol Rajan , in which Muck tries to come across as a chilled-out entertainer. “That was me being humorous. We can cut that, it didn’t really land.”A rich man’s futile quest to be funny and likable is one of a thousand contemporary observations Industry gets just right, but for the Pierpoint young ‘uns, convincing the market that Lumi is not a basket case is a serious business.
But none of it feels gratuitous: the show is tapped in to the absurdity of people playing a high-stakes game it is impossible to understand, because someone somewhere with more money than you is always tweaking the rules. That’s what has in the past made Industry temporarily impenetrable to newcomers. It’s all clear now, though, particularly the fact that if you zoom in closely enough, personal relationships and individual weaknesses are what matter.
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