This paper considers how literary and cinematic constructions of Essex noir expose the darker, chaotic sides to working‐class embourgeoisement: initially via post‐War suburbanisation and later, via Margaret Thatcher's attempt to encourage competitive individualism and entrepreneurship. Noir angles a “dark mirror” to suburban Essex and develops a distinctive aesthetics of social and cultural change, while also puncturing myths of social mobility and suburban security. The paper points to both affinities and breaks between noir's bleak pessimism and Walter Benjamin's understanding of history as overcoming the concept of progress.