‘Mountainhead’ Mines AI Anxieties As Only ‘Succession’ Creator Can

Imagine a future which will or is probably not too removed from now wherein an AI video generator is able to cranking out a whole film.

Then image the film’s script is derived from a big language mannequin fed nothing however the whole run of the HBO sequence “Succession” and each article from the previous six months written concerning the reigning tech titans of our time: Zuckerberg, Musk and Altman. Maybe a splash of Peter Thiel.

And then for the immediate supposed to convey this to life, think about typing into the AI video generator:

“Create a movie that feels like it could be set in the world of ‘Succession’ but with entirely different characters populated from Silicon Valley instead of legacy media. Make a satire of what the worst case scenario of AI run amok, leavened with plenty of humor in order to avoid inducing depression.”

That could be the easiest way to elucidate the brand new film “Mountainhead,” although it’s not the product of any software program. It’s only a fever dream from the sensible thoughts of mere mortal Jesse Armstrong, creator of “Succession.”

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In stark distinction to the sometimes glacial pace with which most films or TV are developed, the movie was conceived, pitched and rushed via manufacturing in a matter of months as a result of Armstrong felt strongly that his story would resonate most reflecting the present second in our tradition whereas we’re nonetheless in it. 

Does it ever. You don’t should work in Silicon Valley lately to be uncovered to the fixed churn of headlines describing the Frankenstein-like potential of a expertise that enables nearly anybody to conjure up hyperrealistic pictures of something their minds can think about with lowered limitations to price or distribution.

But what’s extra, “Mountainhead” is being launched at precisely the second when AI fears should be kicking into overdrive. Look at what’s simply transpired up to now few weeks, beginning with Google’s launch of Veo3, essentially the most refined video era instrument to hit the mass market so far. If that’s not scary sufficient, OpenAI simply unveiled a partnership with former Apple design guru Jony Ive to launch new AI-powered gadgets. Meanwhile, Meta is reportedly operating into bother growing its personal Llama LLM, invoking fears of what determined measures the corporate might take with a purpose to catch up.

How serendipitous for Armstrong then that his choice to make “Mountainhead” a rush job has resulted in a film that couldn’t have picked a scarier time to mine our anxieties about AI and the individuals with the facility to deploy it in pursuit of revenue. 

But “Mountainhead” can be a triumph of timing of the comedic selection as a result of whereas its plot would possibly sound like a Twenty first-century spin on Nineteen Seventies catastrophe films, it additionally manages to be uproariously humorous, a grasp class in satire anchored by a quartet of actors able to delivering strains with deadpan perfection.

“Mountainhead” is about in an opulent mansion nestled within the snowy mountains of Utah, the place 4 billionaire tech mogul friends have gathered for a couple of days of R&R. The timing of their trip is fortuitous as they’re pretty remoted from the remainder of the world, which occurs to be descending into anarchy on the similar time. What’s worse, a number of of them simply could be answerable for this chaos. As they watch the chaos unfold from the protected distance of their cellphones, not even high quality bro time or luxurious facilities can preserve actuality fully at bay. 

And as the approaching apocalypse turns the warmth up on them, they begin to activate one another.

At the middle of the narrative of “Mountainhead” is a fictional social community often called TRAAM, which has simply been supercharged with AI content material era instruments so highly effective that engagement on the platform explodes. But there’s an unlucky aspect impact to this innovation: too many dangerous actors begin to create incendiary deepfakes, sparking violence all around the globe.

Part of what makes “Mountainhead” compelling is that because the motion unfolds and we study extra about every character from their actions and what they are saying, it sparks for the viewer an fascinating inside debate: Which of those characters is essentially the most morally repugnant?

The competitors is stiff, beginning with Hugo, performed by Jason Schwartzman, the proprietor of the mansion the place they’re holed up. He’s the laggard of this foursome as a result of he carries across the disgrace of getting a fortune within the sub-$1 billion vary.

He could be essentially the most sympathetic of the bunch had been he clearly not utilizing the entire get-together as an excuse to get any of them to bankroll his new wellness app enterprise. And what comes clear in time is he’s determined sufficient to do something to get their validation, not to mention their cash.

It says quite a bit about “Mountainhead” that it arms a veteran comedic genius like Schwartzman what is definitely his greatest position because the film that gave him his breakthrough means again in 1998, “Rushmore.” 

And but the film would possibly belong to the least recognized of its 4 lead actors, Cory Michael Smith, who’s handed the juiciest position as Venis, the CEO of the fictional TRAAM.  His $220 billion internet value makes him the richest of the group. Venis is one thing of a mashup of Zuckerberg and Musk, melding the previous’s “move fast and break things” ethos to develop his consumer base in any respect prices with the latter’s robotic ruthlessness. 

Venis’s obscene wealth justifies an unbridled narcissism that displays our worst fears of tech moguls. He repeatedly feedback that different individuals on Earth simply aren’t on the identical aircraft of existence as he or his buddies. Fitting for somebody who’s cashing in on manufacturing pictures that blur the strains between reality and fiction, he doesn’t see different individuals as actual. 

But what’s fascinating right here is that Armstrong doesn’t write Venis as a one-dimensional monster. As the expertise he’s unleashed wreaks havoc, Venis is invested with simply sufficient self-consciousness to be a bit of horrified by himself, simply to not the purpose the place he could be bothered to filter his solipsistic impulses. 

If Smith is a stand-in for Zuckerberg, then Steve Carell is taking part in one thing of a Peter Thiel sort, kind of an older-brother advisor determine who we study was Venis’s first investor. But Carell’s character is making an attempt to cover a secret from his mates, which is that he’s dying of some unspecified, incurable medical situation that provides him years to dwell. Of course, he too is an excessive amount of of a narcissist to just accept that, and he channels his denial into the assumption that TRAAM will ultimately evolve into supporting transhumanism, a expertise that can enable his soul to dwell perpetually as soon as he’s shuffled his mortal coil.

And that delusion places him at odds with the final character, Jeff, performed by Ramy Youssef. Jeff appears to be each essentially the most conscientious and deplorable character. He appears essentially the most troubled by the circumstances taking part in out in the actual world, and but not so troubled that he received’t be rushed right into a cope with Venis to promote him his personal particular mix of AI, which TRAAM’s board believes will assist customers distinguish the distinction between actual and pretend video.

It’s like Jeff has the antidote to the AI poison Venis is virtually killing the world with, however received’t launch it as a result of he has overdosed on the poisonous masculinity that retains these supposed mates in a continuing state of aggressive one-upmanship. 

“This is not someone who should have the keys to America,” Jeff dryly observes of Venis at one level.

In the mouths of anybody else on earth, the machinations about world domination can be delusional sufficient to benefit them a ticket to the loony bin. But the sick joke of “Mountainhead” is that these characters are so highly effective that they’re not fully delusional. 

Listening to them speak about their skill to repair the world as casually as they’d be repairing a automobile will certainly call to mind Musk’s many public musings from the not too long ago concluded DOGE section of his profession wherein he satisfied the present president to primarily hand over the keys to to the U.S. authorities.

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The additional resonance “Mountainhead” achieves from being launched similtaneously the world it’s making an attempt to replicate can be what separates it from “Succession.” 

Sure, there have been flashes of moments on “Succession” that appeared ripped from the headlines of the media commerce publications, nevertheless it’s largely drawn from the exploits of the Murdochs and Redstones, a lot of which preceded the present by some years.

”Mountainhead” isn’t a sequel or spinoff to “Succession,” nevertheless it additionally form of is. Not a sequel within the typical sense of the phrase, in that it doesn’t proceed the mythology of the Roy household media empire in any means. But it’s a sequel within the sense that “Mountainhead’s” characters really feel like they belong in the identical world. 

Armstrong might have introduced the worlds of “Succession” and “Mountainhead” collectively in any variety of cute crossover-y kinda means. I actually half-expected Kendall Roy to wander right into a scene or two. Honestly, Armstrong might have swapped out Jason Schwartzman’s character for Kendall, and this film would have held up.

I’ve at all times marveled on the means every installment of “Succession” was one thing of a bottle episode contained within the rooms of a single constructing. But it’s a credit score to Armstrong that there’s nothing claustrophobic about this. To the opposite, it offers the motion a extra coiled energy, as if the characters collect steam by bouncing off the partitions and one another. 

By squeezing the narrative of “Mountainhead” fully into one mountainside mansion, the film operates by an identical dynamic. So a lot in order that I actually assume Armstrong might have, and perhaps ought to nonetheless, put this story on a Broadway stage. 

But I don’t need to overstate the similarities between the reveals both, as a result of “Mountainhead” is distinctive in a bunch of key methods. “Succession” is extra of an actor showcase, for one factor. The household drama lends it extra emotional depth, it tilts extra towards drama than comedy than “Mountainhead.”

And I additionally need to make a distinction between Armstrong’s two creations as a result of, honest warning: I don’t assume each “Succession” fan goes to love “Mountainhead.” Yes, it’s located in the identical world, however there are some tonal variations that can disappoint “Succession” followers anticipating the equal of a derivative film. 

I don’t need to damage the film with a spoiler, however be prepared for the story to take a flip. It’s such a departure from the “Succession” world as to nearly be like crossing over into magical realism. And I don’t assume some viewers are going to need to take the leap.

“Mountainhead” is like “Succession” in that it’s darkish and humorous on the similar time, nevertheless it will get darker and darker and crazier in a means that simply wouldn’t make sense for “Succession” to have accomplished. But that’s additionally the enjoyable of “Mountainhead.” It’s like watching a automobile slip into a complete different gear you didn’t know Armstrong might drive. 

Strangely, although “Mountainhead” will get an increasing number of absurd because the story unfolds, it manages to nonetheless seize the precariousness of the second we as a society discover ourselves in as we speak. It conjures up simply the form of worst-case eventualities that come to thoughts each time you examine AI or reckless moguls. 

“Strictly Business” is Variety’s weekly podcast that includes conversations with business leaders concerning the enterprise of media and leisure. A brand new episode debuts every Wednesday and could be downloaded on iTunes, Spotify, Stitcher and SoundCloud.