Critic Reviews
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The writing and performances here are the equal of Succession and The White Lotus. Industry has always been a good (sharp, audacious) show. Now it’s great.
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Industry returns with the pedal pressed down, with all the things that make it great intensified and sharpened. Goggling at it is more of a rush than ever.
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Some TV shows are worth significantly raising your heart rate for: this is one of them.
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It is just as cool and confident and brazen (and sweary and explicit) as before, and yet considerably more significant. If Succession needed an heir, then here it is.
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In season three, “Industry” soars, proving itself to be HBO’s must-watch show, worthy of sitting next to all its heavy hitters, “House Of The Dragon,” “True Detective,” etc.
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While there’s a clear evolution happening, everything that initially made “Industry” one of the best shows of the decade still remains intact. It not only allows the series to grow but forces it to become the most impressive version of itself.
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The plot moves at a breakneck speed, so it can be hard to catch your breath, but creators Mickey Down and Konrad Kay have delivered one of the best shows of 2024 so far.
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Industry Season 3 is a fabulous level up for an already great show. The impressive ensemble cast continues to excavate the beautiful, broken characters the[y] play.
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Industry has made a habit of getting better with each season, but "spectacular" is indeed the best word to describe its frenetic, fascinating, and self-assured third season.
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In its third and best season yet, this frisky financial drama — a London-based junior version of HBO’s Succession — finds its footing. Kit Harington joins a cast topped by Marisa Abela and Myha'la to reveal a world broken by sex and greed that looks scarily like our own.
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It wavers between pulpy family melodrama, steamy erotica, and heart-racing white-collar crime thriller at the drop of a hat while discovering new textures to characters that ensure no one lands squarely on one side of the good-bad person spectrum. Plus, the show has finally bought a few shares in a sly sense of humor, something sorely missed from earlier iterations.
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Everyone’s arc exists on a sine curve, charging upwards toward success and dipping downwards toward utter failure multiple times per episode. If that all sounds a little too dour, worry not, because the show retains the vicious sense of humor that makes its shocks and thrills easier to stomach.
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This is the most disparate, sprawling season yet — but the plot-twists, back-stabbing character drama and endlessly high stakes keep Industry as gripping and raucous as ever.
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This is a show written with a fascinated disgust, as dazzling as it can be revolting. It’s not perfect. But like its characters, it is ferociously ambitious. It is impossible to look away.
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In a world where prestige drama is so focused on humanising troubled people, it’s gripping to watch a drama that takes their humanity as a given and focuses on the troubles. It’s not just the markets that are irrational: most counter-intuitively of all, this third instalment of Industry is, somehow, a lot of fun to watch.
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What has emerged is a series about the erosion of relationships, why certain people will always choose themselves and why others thrive under a cycle of cruelty and malice.
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Breathlessly entertaining. Yes, portions of these eight episodes are turgid and overwritten: angry monologues half sold by talented actors, whizzing technical talk delivered with smug snap, high drama that isn’t always credibly sourced. But Industry’s version of all that is vastly preferable to the kind seen on, say, The Bear. At least on Industry, things actually happen.
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Character development has always been more important to Industry than the intricacies of the financial-services issues that raise the stakes of those relationships. And that remains the case in Season 3. But Down and Kay’s choice of overarching Pierpoint plot feels more purposeful this time.
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The series aims, in its third season, to pair power plays of the sort “Game of Thrones” specialized in with the agon of “Uncut Gems” and the brutal humor and banality of “Barry.” That’s a tough recipe to nail. In this case the result, while certainly entertaining, abandons realism — and the sense of moral peril that characterized earlier seasons — for plots that range from soapy to pulpy to simply absurd.
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