NESTLED IN THE rolling hills of South West England, among picturesque towns with country cottages that sell for millions of pounds, there's a 16th-century private estate known as Longleat House. The country seat of the Marquess of Bath, it is also, for a few days in late summer 2023, the filming location for a sex-and-drug-addled TV show about misbehaving investment bankers. Bedecked with antique furniture and genealogical tapestries, the home is a significant change of place for a clique of self-destructive 20-something co-workers more often surrounded by the glass-and-fluorescent despair of their highly competitive London offices. Don't worry: They still find a way to do coke there.
At the end of Industry's third season-a level up for the series in terms of scale, writing, and general shenanigans-a few of its characters end up at this monument to old money for a dinner party. There are two familiar faces present in this scene, both wearing black tie: Harry Lawtey, who plays Industry's woebegone working-class striver, Robert, whose boys'-club looks fine cheekbones, a winning curl of hair Industry's makeup designer, Mirna Curak, tells me she is personally very protective of-allow him to fit into the banking world, and Marisa Abela, who plays Yasmin KaraHanani, a British Lebanese heiress who is as good at social manipulation as she is bad at her actual job.
この記事は New York magazine の June 03 - 15, 2024 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
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この記事は New York magazine の June 03 - 15, 2024 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
すでに購読者です? サインイン
Drowning in Slop - A thriving underground economy is clogging the internet with AI garbage-and it's only going to get worse.
SLOP started seeping into Neil Clarke's life in late 2022. Something strange was happening at Clarkesworld, the magazine. Clarke had founded in 2006 and built into a pillar of the world of speculative fiction. Submissions were increasing rapidly, but “there was something off about them,” he told me recently. He summarized a typical example: “Usually, it begins with the phrase ‘In the year 2250-something’ and then it goes on to say the Earth’s environment is in collapse and there are only three scientists who can save us. Then it describes them in great detail, each one with its own paragraph. And then—they’ve solved it! You know, it skips a major plot element, and the final scene is a celebration out of the ending of Star Wars.” Clarke said he had received “dozens of this story in various incarnations.”
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