In Mountainhead, the Rich Eat Us

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In simpler terms, “Mountainhead” is a comedy that satirizes the excessive ego and power of tech billionaires at a secluded mansion, making fun of Ayn Rand references without needing you to do so. It’s directed by Jesse Armstrong, known for creating “Succession,” and it doesn’t shy away from blatantly showcasing the absurdity of these powerful individuals. However, watching this film was uncomfortable because it felt like a premonition of the real-world consequences of their actions. The film seems to suggest that mockery might not be an effective tool against such powerful and ridiculous figures, as they are already more awful in reality than any fictional version could portray. It’s as if the director is acknowledging the absurdity before we’re both run over by a bulldozer, symbolizing the destruction caused by these tech giants.

In the series titled “Mountainhead,”, four individuals have self-proclaimed as the Brewsters, and they’ve been meeting regularly for such an extended period that their unconventional poker games have amassed quite a bit of folklore. The regulations include no negotiations (despite constant talk about business), no meals (the staff has been dismissed, leaving them to survive on snacks), and no high heels (implying the absence of women, although each of these men’s personal lives appear to be troubled). They have given each other nicknames; Jason Schwartzman, whose character Hugo is worth $521 million, goes by “Soup Kitchen” or “Soupes” for short, while Steve Carell’s character, Randall, the senior member and de facto leader, is known as “Papa Bear.” There’s a tale about an incident in Palo Alto where they may have masturbated onto a Pop-Tart and eaten it. A tradition involves the men writing their net worths on their chests and being crowned with crowns, captain’s hats, or sailor caps based on their wealth. Currently leading is Venis (Cory Michael Smith) at $220 billion – a sneering psychopath whose social media company, Traam, recently released a set of tools enabling deep fakes, causing growing concern and alarm through unsettling phone alerts. Jeff, in third place but rapidly advancing, benefits from the disasters caused by Traam’s latest update due to his AI safety measures company.

In “Mountainhead”, the characters embody a variety of common viewpoints and corporate behaviors without explicitly linking them to specific real-life individuals. These characters, ensconced in their glass-encased mountaintop facility, appear as exotic pets in a luxurious terrarium, so detached from ordinary people that they struggle to understand everyday issues. For instance, Venis seems to view others as unreal, which might be a reference to the simulation theory. The script is filled with references to shallow philosophical debates, sleep scores, dual-brained mentalities, and these men’s firm belief that they’re on the brink of achieving transhumanism, something particularly important for Randall who denies his terminal cancer diagnosis.

The dialogue resembles communication through X.com, a universal app, suggesting an accurate portrayal of one type of Silicon Valley elitism. However, it also feels grating, much like using X.com itself – relentless and uncomfortable. There are only occasional hints of humanity, such as Jeff’s slow realization of his peers’ ruthless mindset. Overall, the characters lack human qualities.

The TV series Succession was unique because its characters were monstrous yet relatable, with their flaws, uncertainties, and vulnerabilities never forgotten. Realizing they weren’t completely alien made the heinous acts they committed even more chilling. Mountainhead seems to mark the culmination of our exploration into the lives of the wealthy through prestige television, a journey that has taken us from Succession to Triangle of Sadness, The White Lotus, and The Menu. All these shows suggest that the elite are miserable, regardless of their comeuppance; they offer a glimpse into their indulgent lifestyles and cruel treatment of others. However, unlike these comedies, there’s no enjoyment to be found in Mountainhead, despite strong performances, particularly from Smith. The film invites us into an exclusive retreat while keeping us emotionally detached from the characters who, if they cause societal destruction, will simply retreat into their fortresses, convinced everything will turn out for the best in the end. As Venis says at one point, “Nothing’s that fucking serious — nothing means anything, and everything’s funny and cool,” a philosophy held by someone wealthy enough to believe it. In Mountainhead, the rich consume us, but there’s no catharsis in that experience.

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2025-05-31 17:54