Manage Your Expecations for ‘Mountainhead’ as a Follow-Up to ‘Succession’: TV Review

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After watching “Succession,” tackling another show might seem like an overwhelming task. Instead, consider “Mountainhead” as more of a refresher than a continuation. Created and directed by Jesse Armstrong, who is also behind “Succession,” this HBO film shares similar settings (the wealthy elite) and a rapid, witty, and explicit dialogue reminiscent of the highly praised drama. However, “Mountainhead” is intentionally less grand in scope. The script was penned quickly, and most of the action unfolds within the namesake alpine lodge, giving it a theatrical feel. To emphasize its difference from more prestigious productions, “Mountainhead” takes on the often-disparaged form of a made-for-TV movie, airing on the last day of this year’s Emmy eligibility period – much like a student submitting their assignment just before the deadline.

If you watch “Mountainhead” after getting that message, you’ll find it packs a punch. While it might serve as Armstrong’s way to completely move on from “Succession,” with key contributors like Mark Mylod, Will Tracy, Lucy Prebble, and others credited as executive producers, the show has its unique themes. The narrative primarily revolves around the harmful effects of technology and those who wield it irresponsibly, almost like a quartet of Lukas Matssons took over from the Roy family in “Succession.” In contrast to Alexander Skarsgård’s self-made entrepreneur character in “Mountainhead,” the adult Roy children in “Succession” had inherited wealth without earning it. Here, however, the work itself becomes the focal point, even if its repercussions are overlooked by the characters.

At “Mountainhead,” we find a group of wealthy individuals, known as the Brewsters, gathering for their periodic poker night in Utah. On this occasion, Venis (Cory Michael Smith, starring in “Saturday Night” and “May December”), the CEO of social media platform Traam who resembles Mark Zuckerberg, introduces a novel feature that enables deepfakes. This innovation has sparked a worldwide blaze of misinformation. Venis humorously suggests he should retaliate by posting “fuuck,” with two U’s; his followers respond with approval, although the new feature is fueling religious conflicts as it confuses users about what’s true and what’s false.

Jeff (played by Ramy Youssef) has developed an AI technology that is likened to a cure for “information overload” or “digital clutter.” Although Jeff carries a heavy sense of responsibility, he is more aggravated by Venis’ accusations of insufficient entrepreneurial spirit on a popular podcast rather than his questionable ethical practices. On a personal note, Jeff’s vast wealth fails to win the loyalty of his girlfriend Hester (Hadley Robinson), who has left for an event in Mexico that seems to involve more than just socializing. She tries to console Jeff by stating, “Just because people engage in sexual activities at a party doesn’t necessarily mean it’s a sexual gathering.” The group is completed by Randall (Steve Carell), who denies his terminal cancer diagnosis, and Hugo (Jason Schwartzman), nicknamed Souper due to his relatively smaller fortune compared to other billionaires, making him the “poorest billionaire” in their circle.

In some parts of the previous sections, you might notice similar themes. Souper’s self-pity bears a resemblance to Tom Wambsgans’ statement about being “the poorest rich person in America” and “the world’s tallest dwarf”. Similarly, Jeff’s jealousy towards Hester echoes Connor Roy’s efforts to win over his paid escort-turned-wife Willa. While comparisons to “Succession” might be unavoidable given its recent ending, “Mountainhead” still manages to carve out its own distinct identity.

Not only does “Mountainhead” gaze outwards, but it also reflects on the past. I must admit that I watched this movie shortly after reading Sarah Wynn-Williams’s book, “Careless People,” which delves into Facebook’s inner workings during the 2010s. Venis’ disregard for the turmoil he’s created, and his refusal to accept accountability for it, mirrors the attitude of Mark Zuckerberg, Sheryl Sandberg, and their colleagues when faced with critical moments like the 2016 election or the Rohingya genocide in Myanmar. Similarly, Randall’s fascination with achieving a post-human existence within cyberspace parallels the denial of mortality that drives figures such as Peter Thiel and Bryan Johnson to explore bizarre, often macabre methods of prolonging life. When money can buy so much, why not strive for immortality?

Essentially, Armstrong’s examination of the flawed psychology of the wealthy, particularly those who amass fortunes through disruption and innovation, resonates with me. However, I find it hard to believe that they can form deep friendships or even be friends with each other. The idea of these high-net-worth individuals participating in bonding rituals like displaying their wealth publicly is humorous; there’s even a tradition for when one Brewster surpasses another in the metric they seem to value most. Similarly, their declarations of caring for each other feel insincere. Armstrong needed a reason to bring these people together, but genuine affection seems implausible.

From a cinephile’s perspective, unlike a series, the film “Mountainhead” doesn’t have the luxury of time to delve deeply into the complex psyches or intricate relationships that made the Roys unforgettable. Instead, it leans heavily into slapstick, skillfully amplifying Venis’ ruthlessness, Jeff’s resistance, Hugo’s insecurities, and Randall’s desperation to their breaking points. Among them, Randall seems to evoke a hint of pathos with his frenzied denial of the inevitable fate. However, when he flippantly refers to Earth as a “solid starter planet,” it’s Elon Musk-like arrogance that carries most of the comedic weight.

Armstrong appears to instinctively grasp the key attributes (quickness, concentration) as well as the flaws (emotion, complexity) of his chosen medium. The objective of “Mountainhead” is less about exposing the deep-seated problems of those who wield power globally, instead opting to satirically showcase their issues. However, with biting allusions to moral philosophy, “Ayn Bland” and a particularly grim reference to Jamal Khashoggi, “Mountainhead” demonstrates enough intelligence and sharpness to home in on its intended target.

“Mountainhead” is currently streaming on Max and will air on HBO on May 31st at 8 p.m. ET.

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2025-05-31 10:47