"In a dark-panelled meeting room, she sits with Henry's uncle, Alexander, a conservative tabloid publisher whose scandal sheets once targeted Yasmin herself, and Stefanowicz, a far-right politician who represents a base that Alexander describes as 'young, murderous, undersexed men.' To Yasmin's surprise, Stefanowicz expresses disapproval of her divorce; he considers it 'an affront to God.'"
"The least principled of the three is actually Yasmin, whose climb back into the upper class after her father's mismanagement of the family fortune has been accompanied by her recurring exasperation that others still hold any scruples at all."
"She invites Harper, her eternal frenemy since their first days at Pierpoint, to a party in Paris for Stefanowicz's supporters, where Harper gradually realizes that she's been seated next to literal Nazis who mistake her for one of their own. Then young women stroll in, some in shiny pink and gold frocks that emphasize how out of place they are in the dimly lit hotel suite."
Industry's fourth season concludes with Yasmin's catastrophic moral descent. After ending her marriage to Henry, she reinvents herself by partnering with Alexander, a conservative tabloid publisher, and Stefanowicz, a far-right politician. Yasmin orchestrates a Paris party ostensibly for Stefanowicz's supporters, where Harper discovers herself seated among literal Nazis. Young women in conspicuous formal wear appear in the dimly lit suite, creating an unsettling atmosphere. Yasmin, dressed in minimalist black, emerges as the least principled character among the three, having abandoned all scruples in her pursuit of upper-class restoration following her family's financial collapse.
Read at The New Yorker
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