Critic Reviews

Sometimes it’s very funny, but at other times it’s plain cruel. Underneath the spiky and unfamiliar exterior, though, is a beguilingly original series that ought to mark the launch of several major careers, not least those of its creators, barely into their thirties, for whom this is a precocious debut.

Industry boasts some excellent writing. ... But its greatest strength is bringing all of its elements together in a moreish package where relationships – friendly, romantic and work-oriented, three categories that frequently overlap – are constantly in flux and the tension is ever-rising.

An even more compelling portrait of a debauched workplace, with greater character development and some cardiac-arresting set pieces.

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.

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.

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.

Some TV shows are worth significantly raising your heart rate for: this is one of them.

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.

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.

Yet another spectacularly bold, absolutely brilliant, and shamelessly brash season of television, but it’s also darker, grander, and more culturally relevant than any season of the show before.