‘Mountainhead’ Mines AI Anxieties at Just the Right Time

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Picture a possible near future where an advanced AI system can produce an entire film on its own.

Imagine if I were to craft a script based on insights gleaned solely from the entire HBO series “Succession” and recent articles about today’s leading tech figures – Zuckerberg, Musk, Altman, even hints of Peter Thiel. It would be as if these powerhouses had their own dynasty drama unfolding before us!

To make the prompt come alive in your mind, envision typing this command into an AI video creator:

(Or more concisely)

Visualize entering the following into an AI-powered video tool:

Develop a film that shares a similar atmosphere as “Succession”, but instead of featuring characters from the legacy media world, it centers around figures typical of Silicon Valley. Let’s craft a satire depicting an extreme scenario where AI technology spirals out of control, while infusing humor to keep the narrative light and prevent it from becoming overly depressing.

The new movie “Mountainhead” could possibly offer the most effective interpretation, yet it’s important to note that it wasn’t developed by any software. Instead, it’s an imaginative concept born straight from the fertile mind of talented writer Jesse Armstrong, renowned for creating the hit series “Succession.

Listen to the podcast here:

https://omny.fm/shows/strictly-business/mountainhead-mines-ai-anxieties-at-just-the-right-time/embed

Instead of the usual slow process common in creating films or TV shows, this particular movie was swiftly brought to life. Armstrong believed passionately that his tale would strike a chord most significantly if it mirrored our contemporary cultural landscape, and so he accelerated its conception, presentation, and production within mere months, as we’re still immersed in the very moment he wished to portray.

Are you sometimes confronted with the ongoing stream of news articles highlighting the eerie possibilities of technology, which lets practically anyone create incredibly lifelike images of whatever their imagination dreams up, thanks to reduced financial and distribution hurdles? This phenomenon resembles the creation of Frankenstein’s monster in a way.

As a fan, I can’t help but notice that “Mountainhead” is being launched right at a time when AI concerns are reaching a boiling point. In the past few weeks alone, we’ve seen Google debut Veo3, the most advanced video generation tool yet available to the public. And if that doesn’t give you pause, OpenAI just announced a collaboration with design legend Jony Ive to launch new AI-driven devices. To make matters even scarier, Meta is reportedly struggling to develop its own Llama LLM, causing speculation about what drastic steps they might take in order to stay competitive.

As a movie enthusiast, I find it quite fortunate for Armstrong that his choice to expedite the production of “Mountainhead” has led to a film that seems eerily timed, tapping into our deepest fears about artificial intelligence and those who wield its power for personal gain.

However, the comedy in ‘Mountainhead’ is noteworthy due to its impeccable timing. Despite its storyline having echoes of 1970s disaster movies reimagined for the 21st century, it manages to be hilariously funny. It’s a brilliant exercise in satire, supported by a cast of four actors who deliver their lines with a deadpan finesse that is nothing short of masterful.

Mountainhead”

The story is set in a luxurious mountain retreat hidden among the snow-capped peaks of Utah. Four wealthy tech entrepreneurs have convened here for a brief respite from their demanding lives. Coincidentally, this getaway coincides with global turmoil that’s engulfing the world. Remarkably, they find themselves in isolation, which is both fortunate and unfortunate since some among them could potentially be instigators of this chaos. As they observe the mayhem on their mobile devices, their peaceful retreat can’t entirely shield them from the harsh realities unfolding beyond their tranquil sanctuary.

And as the impending apocalypse turns the heat up on them, they start to turn on each other.

The main storyline of “Mountainhead” revolves around a fictional social media platform called TRAAM. Recently, it was equipped with advanced AI tools for content generation, leading to an unprecedented surge in user engagement. However, this advancement unfortunately has a dark side: it encourages more malicious users to generate inflammatory deepfakes, which ignite violence on a global scale.

One engaging aspect of “Mountainhead” lies in its ability to provoke thought among viewers. As events unfold and we get to know each character through their actions and words, it stirs up a captivating mental struggle: Who among these characters seems the most morally questionable?

The rivalry is intense, and it begins with Hugo, portrayed by Jason Schwartzman, who owns the mansion they’re hiding in. He’s the least successful among the group due to his wealth being under $1 billion, which he can’t help but feel ashamed of.

It’s possible that he appears very compassionate among the group, but it’s evident that he isn’t genuinely doing so; instead, he seems to be exploiting the gathering as a chance to persuade any of them to invest in his latest wellness app project. Over time, it becomes apparent that he’s so eager for their approval, not just their funds.

Mountainhead offers Schwartzman, a seasoned comedy legend, arguably his finest role since he first rose to fame with the 1998 film “Rushmore.”

The movie Mountainhead provides Schwartzman, a well-known comedian, one of his best roles since Rushmore, which made him famous in 1998.

Nevertheless, it’s possible that among the four main actors, Cory Michael Smith may garner the most attention for his portrayal of Venis, a character who serves as the CEO of TRAAM, a fictional company. With an impressive net worth of $220 billion, Venis emerges as the wealthiest figure in the storyline. The character is reminiscent of both Zuckerberg and Musk, blending the freewheeling approach to expansion that Zuckerberg exemplified with the cold-blooded determination characteristic of Musk.

Venis’s immense fortune fuels an unrestrained arrogance that mirrors our deepest apprehensions about tech tycoons. He often states that ordinary people on Earth are not even in the same league as him or his peers. It’s no surprise coming from someone who makes money by creating pictures that confuse reality and fantasy, as he doesn’t seem to perceive others as genuine individuals.

Intriguingly, Armstrong doesn’t portray Venis as a flat, evil character. As the chaos caused by the technology he controls escalates, Venis exhibits a hint of self-awareness, even showing a slight sense of horror towards his own actions. However, this self-awareness is not enough for him to restrain his selfish instincts.

If Smith represents Mark Zuckerberg, then Steve Carell portrays a character reminiscent of Peter Thiel’s role, serving as an older mentor-like advisor to Venis, who was initially invested by him. However, there’s a hidden truth that Carell’s persona is concealing from his associates: he has a terminal, incurable illness with limited remaining life span. Despite this grim reality, he refuses to acknowledge it and instead invests his denial into the idea that TRAAM will eventually advance to support transhumanism – a technology promising eternal life for his spirit after he passes away.

Furthermore, this misconception creates friction between him and the character Jeff, portrayed by Ramy Youssef. Jeff appears to be both the most diligent yet morally questionable character. He shows deep concern about the unfolding events in reality, but not so much that he hesitates to strike a deal with Venis, offering him his unique AI blend for sale. This AI is thought to assist consumers in discerning real from fake videos, as TRAAM’s board believes it could be beneficial.

It’s as if Jeff possesses the cure for the deadly AI toxin that Venis is almost destroying the world with, yet refuses to share it due to his excessive dose of toxic masculinity which maintains their friendship in a perpetual state of rivalry and competition.

At a certain moment, Jeff dryly comments, “It’s not appropriate for this person to hold the keys to America.

In the speech of anyone else worldwide, discussions on global dominance might sound absurdly far-fetched, enough to have them committed to a mental institution. However, the irony of “Mountainhead” is that these characters possess such immense power that their ambitions aren’t entirely unrealistic.

Hearing them discuss their solutions for fixing global issues with the same nonchalance they might use when discussing car repairs, it’s hard not to be reminded of Elon Musk’s numerous public statements during his DOGE phase, where he managed to persuade the current U.S. president to effectively hand over control to the U.S. government, a significant milestone in his career.

***

The additional impact “Mountainhead” derives from its simultaneous release with the world it mirrors sets it apart from “Succession.”

“Mountainhead” stands out compared to “Succession,” because both were released at the same time, allowing “Mountainhead” to reflect the current world more effectively.

The TV series “Succession” often felt like it was based on real-life events from trade publications, but much of it is actually inspired by the experiences of the Murdoch and Redstone families, some of which happened before the show was even created.

As a devoted cinephile, I must clarify that “Mountainhead” isn’t a traditional sequel to “Succession,” but it shares an uncanny resemblance with its universe. It doesn’t extend or expand the Roy family’s media empire narrative in any way, but the characters and settings in “Mountainhead” seem strikingly familiar, as if they were residents of the same world.

In a delightful twist, Armstrong had the potential to merge the universes of “Succession” and “Mountainhead”. There were moments when I genuinely thought Kendall Roy might stroll into some scenes. In fact, replacing Jason Schwartzman’s character with Kendall could have kept the movie just as compelling.

As a movie enthusiast, I’ve been consistently captivated by how every season of “Succession” feels like a self-contained story unfolding within the confines of a single structure. Yet, it’s not Armstrong who makes the environment feel suffocating; instead, he infuses the action with a tighter tension, as if the characters are building momentum by ricocheting off the walls and each other, much like a spring coiling ever tighter before it unleashes its force.

As a film enthusiast, I found “Mountainhead” to be remarkably compelling due to its ingenious adaptation of the entire narrative within a single mountainous mansion. This cinematic approach resonated so deeply with me that it struck me as if it were destined for the Broadway stage. In fact, I believe that Armstrong could have effectively transferred this captivating story from screen to stage, and perhaps even should reconsider doing so in the future.

However, it’s important to note that while there are some similarities between the shows, “Mountainhead” stands out in several significant aspects. For instance, “Succession” is primarily an actors’ showcase, whereas “Mountainhead” offers a unique family drama with its own distinct emotional depth and leans more towards drama than comedy.

Furthermore, let me clarify that Armstrong’s two works should be viewed separately because not every “Succession” enthusiast might appreciate “Mountainhead.” Although they share the same universe, there are significant tonal variations that could leave “Succession” fans hoping for a spin-off disappointed.

The movie may surprise you with an unexpected plot twist. It’s quite different from the “Succession” series, almost like stepping into a world of magical realism. Some viewers might find it challenging and choose not to watch it.

Mountainhead” shares similarities with “Succession” in terms of its blend of dark and humorous elements. However, while “Succession” maintains a certain level of realism, “Mountainhead” pushes the boundaries of absurdity to levels that would be inconceivable for “Succession.” This unpredictability is what makes watching “Mountainhead” so thrilling; it’s like witnessing a vehicle switch gears into an unexpected and exhilarating drive you never knew it was capable of.

Despite becoming increasingly bizarre, “Mountainhead” remarkably reflects the uneasy state of affairs our society is currently experiencing. It evokes the very doomsday situations that cross one’s mind when considering advanced AI technology and unchecked ambition among tycoons.

Every week, I share insightful discussions with influential figures in the media and entertainment sector through my podcast, “Strictly Business.” You can catch a fresh episode every Wednesday by tuning in to platforms like iTunes, Spotify, Stitcher, or SoundCloud.

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2025-05-29 01:48