I don’t like to be out of the loop when it comes to great, big HBO shows, so one of the goals I set for myself in the first few months of 2026 was catching up on HBO’s Industry, Mickey Down and Konrad Kay’s acclaimed financial thriller-drama. which started way back in 2020 and has changed shape over the years. Back in the day, I tried to get into the show, but despite liking the first episode, I didn’t manage to make time for it then. The fourth season of the show, which I recently learned was going to be the penultimate season, premiered in January of this year, and I managed to catch up to it two weeks before the final episode hit in early March. I was really happy I made it a goal to find time for it, because this is a show that is much more than the ‘new Succession‘ that some have branded it. Although I see the comparison and acknowledge there are certain comparable elements (e.g., a race to the top of the ladder of one’s field, complex characters, and a focus on corporations, wealthy customers, and wealth management), it is very much its own thing entirely.
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Broker (2022) | REVIEW

Directed by Hirokazu Kore-eda — Screenplay by Hirokazu Kore-eda.
First released in competition at the Cannes Film Festival last year, Broker is the 15th narrative feature from Japanese filmmaker Hirokazu Kore-eda. The film takes place in South Korea, and it primarily follows Ha Sang-hyeon (played by Song Kang-ho) and Dong-soo (played by Gang Dong-won) as they steal a baby from a baby box (a concept that was new to me) — a box where mothers can leave their newborn babies and thus anonymously give them up for adoption or an orphanage — to sell it on the adoption black market. Soon, the young mother (played by Lee Ji-eun) who abandoned her child tracks them down and joins them on a road trip to help them interview the child’s potential parents. Meanwhile, the authorities are on their trail and trying to catch them in the act of selling the bay.
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