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\n \u201cShe\u2019s creating an element of discomfort and vulnerability and a power imbalance that she then is able to control.\u201d
\n Photo: Simon Ridgway\/HBO\n <\/p>\n
Spoilers follow for the Industry<\/a> season four episode seven, \u201cPoints of Emphasis<\/a>,\u201d which premiered on HBO on Sunday, February 22.<\/p>\n Lady Yasmin Muck is now a muckraker, but she\u2019s not doing it out of the goodness of her heart. The former Pierpoint employee played by Marisa Abela has spent Industry\u2019s fourth season<\/a> struggling to find her place in her marriage to addict baronet Henry Muck (Kit Harington) while keeping them both afloat in their new jobs at fintech company Tender. She\u2019s a zealous defender of corrupt Tender CEO Whitney Halberstram (Max Minghella) while also an increasingly immoral operator of her own, engineering a threesome for herself and Henry with Whitney\u2019s assistant, Hayley (Kiernan Shipka<\/a>), and securing a neo-Nazi<\/a> a column in a newspaper owned by Henry\u2019s uncle, Viscount Alexander Norton (Andrew Havill), to ensure his support of Tender. She\u2019ll do anything to make her coupling with Henry and her career at Tender work, until both blow up in her face in \u201cDear Henry.\u201d<\/a> Under suspicion from British media and the finance industry over claims that Tender is a fraud, Whitney gives Henry a letter admitting the depth of the company\u2019s deception \u2014 and since Henry is the company\u2019s patsy CEO, he\u2019s going to take the fall. In Sunday\u2019s episode, Yasmin is on the warpath, using Alexander\u2019s media connections to smear Tender, incriminate her husband, and absolve herself. She\u2019s used to being left behind. This time, she\u2019s leaving first.<\/p>\n During her time on Industry, for which she won a BAFTA last year, Abela deftly balanced Yasmin\u2019s wounds from a childhood spent with her sexual-abuser father, her baseline insecurities about her own skills and place in society, and a need for increasing poise as she\u2019s moved into the aristocracy. With her marriage to Henry, Yasmin thought she found the partner she\u2019d been waiting for her whole life; as it collapses, she becomes, as one of Alexander\u2019s editors calls her, \u201ca hard fucking bird\u201d looking out for herself.<\/p>\n \u201cShe sees it as an act of self-preservation,\u201d Abela says of Yasmin\u2019s appeal to Alexander to report on Henry\u2019s role in Tender\u2019s downfall. \u201cYasmin is pretty cut and dry: When she makes a decision, the door has closed. It\u2019s not like she never loved him, but she has to move on.\u201d<\/p>\n What was your initial reaction to Yasmin\u2019s arc for season four? She\u2019s trying to find purpose for Henry and for herself.\u00a0 At the end of the third season<\/a>, she seems so ready to join the aristocracy. But at the beginning<\/a> of season four, she and Henry get into an argument about letting a servant open the curtains instead of Yasmin. There\u2019s a certain degree of knowledge that she\u2019s never going to have because she didn\u2019t grow up in that world.\u00a0 The relationship between Yasmin and Henry is so tumultuous because both of them are trying to figure out what their marriage is. What was your dynamic like?\u00a0 Watching episode seven, I thought a lot about what Yasmin\u2019s aunt Cordelia says to her about husbands during Henry\u2019s birthday party: \u201cYou never give them unconditional love because they will weaponize it. They will fuck all of their fears into us and then kill us.\u201d\u00a0 Yasmin puts that mission into motion by meeting with Henry\u2019s uncle Alexander to tell him about Henry\u2019s drug use and infidelity. She\u2019s building a trap door for herself. Alexander is maybe the only man in Industry who does not sexualize Yasmin. How did you want to play that relationship?\u00a0 When Yasmin talks to other women about their sexual experiences this season, she views them through the lens of abuse. When she talks to Cordelia, she suggests Charles abused her, his younger sister. When Whitney\u2019s assistant, Hayley, tells her what happened with Jim<\/a>, Yasmin insists that Hayley didn\u2019t consent to their hookup. What was your read on that pattern and what it signified about Yasmin?\u00a0 Yasmin learns that Whitney hired Hayley from an escort service and that he\u2019s using young women and girls to honeypot and blackmail powerful figures. I thought of Whitney this season as a Jeffrey Epstein\u2013like figure and Yasmin as a Ghislaine Maxwell<\/a>. How did you view that comparison? Did showrunners Mickey Down and Konrad Kay discuss this with you?\u00a0 Did you go as far as reading about Ghislaine Maxwell, or did you want to keep Yasmin separate?\u00a0 In the final conversation between Harper and Yasmin before they go clubbing, they\u2019re revealing so much about how they view each other. Yasmin has two lines that were really interesting to me. She says, \u201cI guess I kind of grew up at someone\u2019s mercy\u201d and \u201cGod, I wish I was still 17. It was so easy to get people to do things for you.\u201d Those are such little windows into Yasmin\u2019s character. Yasmin is about to turn 30, and she\u2019s not had any of the things that someone would think of as successful for a woman her age. Harper is the only person she can talk to about these things. She\u2019s the only semblance of family Yasmin has left. The scene is an incredibly vulnerable one, and what that vulnerability looks like in that moment really changed each take. Maybe that vulnerability is knowing these things in my soul, and therefore not necessarily being so affected by them as I\u2019m saying them, but saying them as fact. Or maybe it\u2019s the reality of them hitting me and becoming incredibly overwhelmed by them. It was important to try all of the different options and then leave it up to Mickey and Konrad to do what they will in the edit.<\/p>\n That scene was so important for Myha\u2019la and me. It was such a nice moment and such a rewarding thing to be able to film after four seasons of this relationship that goes backward and forward.<\/p>\n You\u2019ve said that<\/a> Harper and Yasmin \u201creflect the most innocent versions of themselves back to each other because they knew each other at that point.\u201d What innocence do you think Yasmin still sees in Harper, and what innocence might Harper still see in Yasmin? Harper\u2019s line about how \u201cmy trauma traumatized me\u201d applies to Yasmin as well, but I don\u2019t know if Yasmin would agree with it.\u00a0
I was really excited to explore the idea of Yasmin as a wife putting someone\u2019s needs above her own. We see that in episodes two<\/a> and three<\/a>, where Yasmin is trying to play the good wife and lift Henry up out of that hole. This is the most grown-up we see Yasmin, and that\u2019s because there is someone else in her life that matters to her just as much as she does. Since season one, Yasmin\u2019s main objective was to feel useful and needed and necessary. She hopes this will be the role in which that happens. She is suddenly an important function in someone else\u2019s life, and she sees herself being able to succeed and thrive in this role \u2014 not just as this man\u2019s wife but as Lady Muck.<\/p>\n
Yasmin is trying her hardest, even by the clothes she\u2019s wearing and her voice \u2014 she\u2019s more posh this season. She\u2019s trying to assimilate as best she can. But she can\u2019t quite see the servants in her home as part of the furniture in the way Henry can. She doesn\u2019t think she\u2019s alone in a room with her husband if there are servants there, whereas the other people in that house are comfortable doing whatever and saying whatever in front of \u201cthe help.\u201d<\/p>\n
We have really great chemistry as two people who have been married for longer than Yasmin and Henry have. It\u2019s quite funny, we have almost a rather brotherly-sisterly-like dynamic as people, and that helps as we\u2019re exploring a kind of sexless marriage, a kind of sibling-esque relationship. We leaned into that and the comfortability that he and I have together. I don\u2019t want to say it\u2019s competitive energy, but we push one another in those scenes to get the most juice out of the material.<\/p>\n
Cordelia storms into episode two as a kind of oracle for the rest of the season for Yasmin. Whether she realizes it or not, it makes such an impression on her. The moment Henry turns around at the end of episode two and says, \u201cMaybe we should try for a child,\u201d the look that crosses Yasmin\u2019s face is, Oh no, Cordelia was right. I am never going to have any control over this situation. I\u2019m in quite a fragile, vulnerable position. Essentially, what Cordelia does is push her off-balance, and she\u2019s trying to regain that balance for the rest of the season and doesn\u2019t quite manage it. It\u2019s episode seven when she finally decides that she has to act. At the end of episode six, really, she\u2019s like, I\u2019m out. I\u2019m done with this. I need to start looking after myself again. No one\u2019s going to look after me like I am.<\/p>\n
That scene was about Yasmin slowly planting seeds in other people\u2019s minds that Henry isn\u2019t a sane, safe, reliable source. It\u2019s the most careful she has to be, but she\u2019s also using Lord Norton as a kind of test, because they have a close relationship. She\u2019s almost asking him for permission in that scene to \u2014 I don\u2019t know if I want to say \u201cabandon\u201d Henry \u2014 but to start creating her own nest. That\u2019s how I was playing it, like a child pushing their first boundary, testing the limits of what they can get away with. He knows where I\u2019m going with this. If he turns around and says, \u201cStop that, Yasmin,\u201d maybe she would. But she\u2019s dipping her toes into that water, and he gives her permission in that scene by not arguing back.<\/p>\n
I wanted to see what a nonsexual, non-male-gaze-y relationship with Yasmin looked like. I think allows the audience to see Yasmin in a different light.<\/p>\n
Power is something Yasmin is becoming more and more obsessed with, and that version of abuse of power is something that has affected her life. Yasmin is starting to understand that as the ultimate way of harnessing power, especially over women. She is exploring that notion with Cordelia in the beginning, and even more so with Hayley throughout the season. It\u2019s her version of emulating the ultimate version of power that she personally experienced, which was her dad, and also all of her bosses at work. We\u2019re watching Yasmin start to emulate Kenny and Eric and her father in those scenes with Hayley; she\u2019s sort of cosplaying it. She\u2019s creating a faux safe space for herself and for these other characters in saying, \u201cI see you, I understand you, I am just like you,\u201d but by bringing that language into the conversation, she\u2019s creating an element of discomfort and vulnerability, and a power imbalance that she then is able to control.<\/p>\n
The fact that Yasmin\u2019s father was a publishing tycoon and died on a boat called the Lady Yasmin, all of these things are [part of it]. We\u2019re looking at a young woman who has never been able to get a foothold on the feeling of safety, or power, or feeling useful or necessary or belonging or loved. And then she suddenly has this intense proximity to power. What does it look like? Does it corrupt? Does she fall into it? That is the comp.<\/p>\n
I wanted to keep her separate. It felt loosely inspired by something that is so prevalent in the media. Things were unfolding with the files<\/a> even as we were filming, but especially now, the whole topic is horrifying and disgusting and very real [so] that I\u2019m very glad I didn\u2019t draw too close a parallel.<\/p>\n
There are so many different versions of that scene somewhere in the edit room. There\u2019s a version where it\u2019s incredibly broken down, super-emotional, really heightened, and then there are versions where it\u2019s quite numb. Yasmin has failed again, and it\u2019s a scene where a woman is incredibly disappointed in herself. That line about \u201cI wish I was 17, it was so easy to get people to do things for you\u201d \u2014\u00a0there\u2019s a truth to that in every sense of what that could potentially mean for Yasmin. It\u2019s about the burden of being a woman with responsibilities, and the burden of having a failed marriage, of not being successful in a career, of not being successful in either love, happiness, or a job.<\/p>\n
One of the most iconic songs on Industry is called \u201cBirth of a World Killer,\u201d<\/a> and it\u2019s Harper\u2019s song. Yasmin sees that Harper feels this deep necessity in her bones to be a world killer and a dominating presence. That is how she\u2019s going to get validation, and that\u2019s how she\u2019s going to be successful and feel good and sleep well at night. Yasmin sees the young girl underneath who is hoping that people accept her and hoping that people take her seriously and hoping that she\u2019ll find someone to love her eventually. I think what Harper sees in Yasmin is a very scared girl who some terrible things have happened to and is deeply traumatized and desperately trying to hold on to control of a life that is spinning out of control all the time.<\/p>\n
Right. I don\u2019t think Yasmin is as self-aware as Harper.<\/p>\n