Movies

Mountainhead: The Dark Comedy Exposing Tech Titans Who’ve Lost All Humanity

BBG News

The film “Mountainhead”, airing on HBO on May 31, penned by Jesse Armstrong, the creator of “Succession”, offers a witty, insightful, and convincing portrayal of what might transpire in a private gathering of influential tech magnates like Zuckerberg, Musk, Thiel, Altmans, et al. However, with today’s digital age, particularly the rise of cryptocurrencies such as DOGE, it becomes challenging to uncover any hidden facets or deceit since these individuals seem to have shed their veneers of civility. After masterfully dissecting Murdochian media dynasties, Armstrong now faces a group that may be so open about their peculiar beliefs and questionable intentions, they appear nearly untouchable by satire.

As a passionate film aficionado, I’d like to share my thoughts on “Mountainhead,” a gripping masterpiece that was swiftly conceived, pitched, filmed, edited, and finalized in an astounding seven months – a testament to its creator’s conviction about its relevance. This intense chamber drama unfolds over a mountainous weekend, where Cory Michael Smith, a former Gotham alum, breathes life into the complex character of Venis (a name that echoes Venice, intentionally or not).

Venis, a billionaire social media mogul who heads Traam, has just released an update to his platform. This update, among other features, empowers its user base – spanning approximately half the globe – to effortlessly create and disseminate deepfakes that are indistinguishable from reality. Unsurprisingly, these images spark widespread violence across multiple continents, as Ven’s advisors had foreseen.

Remarkably, instead of rushing to correct this catastrophe, saving lives, and averting global chaos – actions any compassionate individual would undertake – he decides to embark on a snowmobile adventure with three other elites, indulging in drugs and reckless behavior.

As a movie reviewer, I must admit that the enigmatic Ven finds himself drawn to the secluded, high-tech retreat of Mountainhead, primarily to seek out Jeff (Ramy Youssef), an acquaintance who has developed an AI capable of filtering inflammatory content from a certain platform. Unlike his tech-idealistic peers and financially prosperous due to his prudent skepticism about crises like the one Ven inadvertently instigated, Jeff is hesitant to lend a helping hand to his former rival.

Both men were mentored by Randall (Steve Carell), an ideological visionary reminiscent of Peter Thiel, whose startup investments, fascination with transhumanism, and misinterpretations of philosophers ranging from Plato to Nietzsche have significantly influenced their professional paths. In a humorous nod to Ayn Rand, Jeff playfully remarks that the estate’s décor was designed by Ayn Bland.

The third mentee of Randall, our host, Hugo (Jason Schwartzman), goes by the nickname Souper, derived from Soup Kitchen – a fitting title given his current net worth of $521 million, which leaves him still striving to reach that elusive first billion. One might question whether he would have been invited on this trip if not for organizing it himself.

As a fervent admirer, let me clarify that it’s not just Ven who has hidden intentions. People as ruthlessly ambitious and productivity-obsessed as these never engage in activities merely for enjoyment or camaraderie. Their initial pledge to keep business matters at bay over the weekend soon falters under the strain of each character’s concealed objectives.

Souper, for instance, is eager to persuade his friends to invest in his “lifestyle super app,” which is essentially a rebranded meditation application. He’s even rehearsing a macho sales pitch: “If you pour your heart into this app, it will spawn a mythical creature.”

Jeff might appear the least boastful of the group, but he seems to relish his newfound riches and influence. Moreover, the trip serves as a handy diversion while his girlfriend is in Mexico, presumably attending an event that could be either an “f-ck party” or just a gathering of friends.

The most unrealistic among them is Randall, who previously believed he had defeated cancer only to receive a diagnosis of its incurable return. Rather than grappling with this information or considering his oncologist’s hopeful advice that the appropriate treatment could extend his life by another five to 15 years, he mockingly questions the doctor’s intelligence (“You’re not very intelligent, are you?”) and leaves him stranded on a runway. Convinced that technology holds the key to an immortal, disembodied existence, Randall persistently inquires about the timeline for achieving the elusive goal of uploaded consciousness. To him, death seems like something only commoners or simple-minded people would accept. Regarding the aftermath of the Traam update, he remains indifferent: “You’ll always have some casualties.

In the early stages of the movie, Ven poses a question to Randall that echoes ominously throughout the rest of the film: “Do you believe in other people?” This question, though seemingly simple, carries a profound impact. When Ven asks if eight billion people are as real as us, Randall responds with a dismissive laugh, but his casual disregard for others reveals an alarming form of solipsism. The movie, like Succession, uses humor to depict the absurdities of its characters, yet it carries a sobering message about the dangerous power that individuals like Ven, Randall, Zuck, and Elon wield over everyone on Earth. This message underscores the chilling fact that these influential figures seem to deny the very humanity of their fellow human beings. Armstrong has suggested in a recent interview that this dehumanization is inherent in the problem-solving approach championed by Musk and Bezos, which is based on so-called “first principles.

In simpler terms, Mountainhead, like Succession’s Season 4 Election Day episode, explores the repercussions of Big Tech’s enigmatic philosophy. However, unlike Succession, which had several seasons to develop its characters and their actions, Mountainhead has less time – roughly two hours. As a result, the main characters in Mountainhead can seem one-dimensional, more like caricatures based on alarming news articles or social media posts, rather than fully fleshed-out individuals. While Armstrong’s satire is accurate in its targets, it doesn’t appear to delve much deeper into these subjects compared to an average internet user who has been following the same news for years.

One challenge in exploring deeper themes is that the characters in “Mountainhead” are overly verbose and uninhibited, much like certain tech moguls from Silicon Valley known for neo-eugenics and blood sports. This leaves little room for implied meanings. (Armstrong shrewdly lets viewers draw their own uncomfortable conclusions about Jeff’s hypocrisy, as he continually criticizes Ven while ignoring his own role in Traam’s death count.) These characters seem more interested in exploiting a disaster they themselves created, calling it a “controlled burn” of the lower class, rather than acknowledging and addressing the pain they’ve inflicted. And, as it turns out, this is exactly who they prove to be.

For “Succession” enthusiasts, the film is brimming with enjoyments rather than lacking them. The dialogue is extravagantly delusional (“Cancer turned out to be a big positive”) and thrillingly vulgar (the phrase “frosted Pop-Tart of Palo Alto” will linger in your mind), the casting is spot on. Smith portrays the smooth, self-centered alpha male; Schwartzman would make an excellent beta. Youssef manages to make Jeff relatable enough to fit with this group yet different enough to feel uncomfortable around their arrogance. Carell’s performance is the most exaggerated among them, but his character is also the most desperate. When Randall shouts “I take Kant really seriously!” you might not believe he truly grasps the categorical imperative, but you won’t question that he needs others to think he does. If you appreciate cringeworthy moments involving the wealthy, there are plenty of those (like whining about pitted olives and using lipstick to write guests’ net worth on their chests). If you enjoy sinister twists or bad father figures like Roy, stick around past the first hour. If you prefer your topical humor with a touch of physical comedy, the glass-encased interior of Mountainhead will cater to that as well.

Armstrong is still quite skilled, but it’d be even more intriguing if he used his wit to critique topics that don’t readily confess their own faults.

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2025-05-23 23:28

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