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Otago Daily Times
06-06-2025
- Entertainment
- Otago Daily Times
If at first you succeed
The creator of the decade's most-lauded TV drama, turns his satirical eye to tech bros. He tells Andrew Anthony about his debut feature film. Where you go from the top is a question that very few writers ever have to confront. The typical struggle is all about trying to get there. What happens afterwards is, in nearly all cases, deliriously notional, because success is so seldom realised. But two years ago, when Jesse Armstrong brought to a close the triumphant fourth and final season of Succession , his satirical drama about a warring billionaire media family, the road ahead was one he could survey from what was by any reckoning an industry pinnacle. Exhausted after the efforts of the whole enterprise, he didn't know what his next move would be. Although he had a few ideas, he just wanted to take time off and return to some kind of normality. Then in January this year, the 54-year-old began writing a feature film that he quickly went on to direct. Having explored the super-rich in such brilliantly scathing fashion, he had now turned his attention to ... the super-rich. Again. Mountainhead , which was filmed in March, is a story about four tech bros who meet at the eponymous mountain retreat to share a night of fun and relaxation. Beyond this vast and well-protected eyrie, owned by Souper (Jason Schwartzman), the least wealthy of the foursome, the world is undergoing a series of violent convulsions as a consequence of a new app released by Traam, a company owned by another member of the group, Venis (Cory Michael Smith). It features AI software that creates convincing fake images and the kind of false newsreels guaranteed to provoke civil unrest. As the weekend unfolds, a power struggle ensues within the house, as some of the group persuade themselves that they should take over global governance. The obvious question is that, having scored a bullseye on the billionaire class, what made Armstrong want to return to the same subject with his very next project? "Yeah," he says, shrugging on a video call from New York, "maybe if I'd sat down with an agent and strategised, I might have done something different. But I think Succession was a show about media power, really, and this is a show about tech power." The point Armstrong makes is that power is his concern; fabulous wealth just comes with the territory. Although it's a reasonable point, many viewers may struggle to distinguish Mountainhead 's lavish material trappings and slangy deadpan dialogue from Succession . Armstrong realised he was interested in getting his teeth into the world of big tech after he read Michael Lewis' book about Sam Bankman-Fried, the cyber-currency entrepreneur who is serving a 25-year sentence for fraud. Armstrong followed up with a small library of biographies of other tech giants, and he'd also written the Lukas Matsson (Alexander Skarsgard) character in Succession , widely thought to be modelled on Spotify's Daniel Ek. But it was after listening to podcasts featuring major tech figures that Armstrong found that he couldn't get their tone of voice — "completely culturally dominant and self-confident" — out of his head. One satirical challenge is that it's this voice that occupies all of our heads in one way or another. Whether it's Elon Musk giving faux fascist salutes or pontificating on X, or Mark Zuckerberg sloughing off any pretence of progressiveness and celebrating the "masculine energy" of Trump 2.0, these people are at the forefront of our culture. So it's hard to hit them anywhere but on the nose. We know that Ayn Rand, the defender of ethical egoism, is their favourite philosopher: one character asks Souper whether the name of his Alpine mansion is a reference to The Fountainhead , the novel that is Rand's paean to world-shaping individualism. We know that they're obsessed with space travel and immortality: the eldest and straightest of the four, Randall (Steve Carell), has terminal cancer and is desperate to live long enough to have his consciousness uploaded. And we know that, by virtue of their algorithmic domination, they think they have all the answers to humanity's problems. It's in the gap between this stance of presumed omniscience and the flawed execution of ideas beyond their remit (see Musk and his Doge excursions) on which Armstrong focuses his caustic imagination. "As a comedy writer, your antennae prick up at the lack of self-knowledge, the arrogance of misapplying your expertise to another area. It felt richly comically available." The characters in Mountainhead talk of the future in grand terms, it's post-Earth, transhuman possibilities. "I just feel if, like, if I can get us off this [expletive] rock, it would solve so much," Venis says at one point. "Well, you know, it's a solid starter planet," Randall replies, "but we've outgrown it." We don't need to ask if tech bros really talk like this because it sounds almost like verbatim Musk. Armstrong is particularly alert to the tech bro tendency to take philosophical principles to their logical conclusions. "That can have terrifying consequences in the real world but is also very funny," he says. He cites as an example the effective altruism movement that took Silicon Valley by storm. The idea was to become as wealthy as possible so as to increase human wellbeing through philanthropy. "Musk said it was a pretty close fit for his philosophy and Sam Bankman-Fried had lots of plans for effective altruism, but I think it's pretty hard to get the receipts for when he was actually doing the giving." He laughs, and then stops himself. "You get into some extremely funny but also potentially unpleasant areas when you start calculating future lives. Suddenly, the current lives are worthless compared to the compounded multiples of subsequent lives that might be affected." The characters in Mountainhead frequently invoke these non-existent future lives as justification for their actions, but also are rather disdainful of the actual masses out there beyond their luxurious seclusion. "Do you believe in other people?" Venis asks Randall. "Eight billion people as real as us?" "Well obviously not," Randall sniggers. Armstrong has in the past quoted James Thurber's belief that "there is 1000 miles of desert between a good cause and a good play. Few people cross it alive". The Englishman is far too subtle a thinker and talented a satirist ever to place a cause in front of the comedy, but it's fair to say that Mountainhead is a much balder exposition of the themes of entitlement and unaccountability than Succession . It may have something to do with the speed with which it was made. To begin writing a film in January and have it on screen by June is almost unprecedented, especially when it involves a major star like Carell, who doesn't tend to be available at short notice. Armstrong says he didn't write the part specifically for Carell but he was the first person he asked, and his agreement was, he says, "a pretty big deal". "My pitch was to do it as quickly and cheaply as possible, so that it didn't feel like a great millstone around my neck," he says. That's a pronounced departure from the old auteurist way of doing things, in which length of time and overspend of budget were taken as signs of a master at work. When I suggest that his location of the action within the confines of a super-mansion was a personal motif, echoing the way Succession played on claustrophobic luxury to increase tension, he's quick to deny any such intentions. "No," he says, matter-of-factly, "not consciously. The unity of place and time and characters came out of budgetary necessity rather than a philosophical thing." And the haste, he says, came from the urgency of wanting an audience "to be feeling the same sort of feelings I'm feeling". "I'd also not directed before and there were lots of technical aspects I was anxious about," he adds candidly. "I knew that [given more time] I'd stew and try to read all the books I could and probably watch online tutorials about great directors and go into waves of anxiety about being able to do it." It's hard to think of anyone else who, having made the most lauded TV drama of the past decade, would be so forthcoming with self-doubt. But he's earned the confidence that HBO, the outfit behind Succession and Mountainhead , has shown in him. And while he was a veteran of the manifold responsibilities that came with being a four-season showrunner, there's a case to say that being the lone writer-director of a film is a heavier burden. It's just not a case that Armstrong is interested in making. The two roles, he says, were not that different. He felt the absence of a major collaborator like Mark Mylod, who directed many of Succession 's key episodes, but he assembled a host of executive producers from the Succession team, including Mylod, Lucy Prebble, Tony Roche, Jon Brown, Will Tracy and Frank Rich, to help test his ideas. Each day one or other of them would make the effort to get along to the set. "So they came in a kind of merry-go-round out to Utah [where the film was shot]," he says. He liked to have one of this team standing with him at the monitor to help confirm whether he had a successful take of the scene they were shooting. "Having somebody who's not going to bullshit you is a big help," he says. "I mean, they'll probably bullshit me a little bit and say 'that was great', when it was just fine. But at a certain level, a friend has to be honest, and so I kept that crutch of creative friends around me." Has the experience left him itching to take to the director's chair again? "A bit," he says, making the bit sound like one he's not exactly champing. He's first and foremost a writer, and while he can imagine directing something he writes that is character-focused, "there are other things that I'd be really delighted to hand to other people because I know that I need the collaborator or technical skill to achieve them". If he's not rushing towards the next director's job, would he consider the multi-year undertaking of another TV series on the scale of Succession , or is doing it once in a lifetime more than enough? "Being back in New York [where much of Succession was made], it feels like it was a different human being who did Succession , and that isn't even that long-running a show. It's very all-consuming but I think, hopefully, I might have one more go at it in me ..." he says, and then, before fans can get too excited, he adds a cautionary clause, "... but certainly not for a while". Mountainhead is streaming on Neon. — The Observer
Hindustan Times
06-06-2025
- Entertainment
- Hindustan Times
Mountainhead movie review: A hangout trip with tech billionaires turns nasty in this blunt satire by Jesse Armstrong
Mountainhead movie review Cast: Ramy Youssef, Cory Michael Smith, Steve Carell, and Jason Schwartzman Director: Jesse Armstrong Star rating: ★★★ The shadow of Succession looms large over the premise of Mountainhead- a hilariously morbid, tragically fierce takedown of the ultra-rich. Eat the rich yes, but it is the rich who want to eat themselves. The action begins at a mansion nestled in the snow-capped mountains, where four notoriously rich tech bros meet over the course of a weekend, while the world begins to fall apart. {{^userSubscribed}} {{^usCountry}} {{/usCountry}} {{#usCountry}} {{/usCountry}} {{/userSubscribed}} {{^userSubscribed}} {{^usCountry}} {{/usCountry}} {{#usCountry}} {{/usCountry}} {{/userSubscribed}} {{^usCountry}} {{/usCountry}} {{^usCountry}} {{/usCountry}} Peppered with deliciously cold dialogues and twisty characters, this feels like familiar terrain for director Jesse Armstrong, fresh-off the feverish success of Succession. One can almost say this could be a spin-off from the Emmy-winning HBO show. The premise Mountainhead is essentially a chamber piece, where the entire action unfolds within the interiors of this mansion tucked away in the mountains. It is the brainchild of Hugo (Jason Schwartzman), the founder of a successful wellness app, trying to take up his millionaire status a few notches higher. He basically wants to be on the same page as his three billionaire friends whom he has called to stay over the weekend. One of them is Venis (Cory Michael Smith), who owns the social media app called Traam. He seems to casually refer to acts of mass violence as fake, even as the same app's AI features have caused global outrage. 'This is so hyper-real it can't be real,' he says. Then there is Jeff (Ramy Youssef), whose AI company is a potential threat to Venis. He becomes the moral compass of the group. The papa bear in the group is Randy (Steve Carell), the billionaire investor who gets to shoo away a doctor after receiving some bleak health report. 'My view, and it's essentially Hegelian, is that the whole of history essentially operates on the 'F***! What? Cool!' principle,' he believes. {{^userSubscribed}} {{^usCountry}} {{/usCountry}} {{#usCountry}} {{/usCountry}} {{/userSubscribed}} {{^userSubscribed}} {{^usCountry}} {{/usCountry}} {{#usCountry}} {{/usCountry}} {{/userSubscribed}} {{^usCountry}} What works {{/usCountry}} {{#usCountry}} What works {{/usCountry}} {{^usCountry}} This is just a specimen of the brutally sharp and twisted dialogues that abound in Mountainhead- a film that is wry, unhinged and incredulous, often in the same breath. Armstrong seems to be playing a game here- flirting with an idea with such passive-aggressive distance that it never really takes itself too seriously. The build-up to the central crisis is hilarious and shocking in the way these men try to justify what they are about to do. They are desperate, hungry and absolutely feral; and the film digs into the satire that often trespasses into Lord of the Flies territory. The rich would kill themselves if need arises. The rest of the world can go to smoke. {{/usCountry}} {{#usCountry}} This is just a specimen of the brutally sharp and twisted dialogues that abound in Mountainhead- a film that is wry, unhinged and incredulous, often in the same breath. Armstrong seems to be playing a game here- flirting with an idea with such passive-aggressive distance that it never really takes itself too seriously. The build-up to the central crisis is hilarious and shocking in the way these men try to justify what they are about to do. They are desperate, hungry and absolutely feral; and the film digs into the satire that often trespasses into Lord of the Flies territory. The rich would kill themselves if need arises. The rest of the world can go to smoke. {{/usCountry}} {{^userSubscribed}} {{^usCountry}} {{/usCountry}} {{#usCountry}} {{/usCountry}} {{/userSubscribed}} {{^userSubscribed}} {{^usCountry}} {{/usCountry}} {{#usCountry}} {{/usCountry}} {{/userSubscribed}} However, Mountainhead often lacks a sort of momentum and emotional bandwidth because these men are simply too untrustworthy and impossible to witness. The film is almost too cold, too rigid. I could almost feel the absence of a Shiv Roy-like figure in the room, someone who could slightly shake off these men off their blissful ignorance. Nevertheless, the film is elevated to a degree because of the performances of the cast. Final thoughts Steve Carell and Jason Schwartzman are in fine form, and Cory Michael Smith is extremely effective in finding the comic vulgarity in Venis. But the real standout is Ramy Youssef- who sees through the rest of them a little more, and makes sense of the deception and manipulative behaviour that lies ahead in the game- poker or not. {{^userSubscribed}} {{^usCountry}} {{/usCountry}} {{#usCountry}} {{/usCountry}} {{/userSubscribed}} {{^userSubscribed}} {{^usCountry}} {{/usCountry}} {{#usCountry}} {{/usCountry}} {{/userSubscribed}} Mountainhead is a film that is driven by temptations and amoral impulses. It is a shot at the dark end of despair. The tone is extremely precise in its bleakness and doom, given how immediately transfixing these global threats of AI and global crisis have become. There is a moment where a riot in shown in India, and the men watch the scene on Television- with nothing remarkable to note. They are half-convinced of it, and half-bothered in equal measure. But these men have all the power in the world, and we can't help but be alarmed. Mountainhead is available to watch on JioHotstar. 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Time of India
05-06-2025
- Entertainment
- Time of India
Marc Anderesen, Sam Altman, Elon Musk, Mark Zuckerberg? The many inspirations of tech bromance Mountainhead
Image credits: X When Succession premiered, the HBO series earned widespread acclaim from both viewers and critics. While it wasn't the network's all-time biggest hit, it was a highly successful show, garnering numerous awards and cementing its reputation as one of the most incisive television dramas of the decade. Inspired by real-life media dynasties such as the Murdochs, Redstones, and Hearsts, the show was widely considered Jesse Armstrong 's finest work—until now. Armstrong's latest creation, Mountainhead, might just be a new contender for that title. The 2025 film, written and directed by Armstrong, is now streaming on Max. It follows four men—three billionaires and one millionaire—played by Steve Carell , Jason Schwartzman, Cory Michael Smith , and Ramy Youssef , who retreat to a snowy mountain lodge for their annual weekend getaway just as the outside world begins to spiral into chaos. 'No deals, no meals, no women in heels' is the motto of their gathering, which appears to be an old ritual of sorts. Steve Carell plays Randall, who arrives at the retreat having just received a sobering cancer diagnosis. Cory Michael Smith portrays Venis, the richest of the four and the founder of Traam, a social media platform resembling X. Ramy Youssef plays Jeff, a pioneer in artificial intelligence, while Jason Schwartzman's character Souper is a down-on-his-luck millionaire who's bitter that he hasn't yet broken into the billionaire club. The film presents itself as a caustic meditation on the personalities that dominate the tech world—ambitious, brilliant, morally compromised men trying to reshape the world in their own image. Though fictional, Mountainhead offers a sharp reflection of contemporary fears around artificial intelligence, the billionaire class, and the collapsing boundaries between power, technology, and ethics. What inspired Mountainhead? Image credits: X While Mountainhead is not based on a true story, Armstrong has described the characters as 'Frankenstein monsters with limbs sewn together'—composites of real-life tech figures. Each of the four main characters represents a distinct archetype: The Father, The Dynamo, The Usurper, and The Hanger-On. Steve Carell's Randall – The Father Image credits: X An ageing investor and technologist, Randall evokes a hybrid of Marc Andreessen and Peter Thiel. Like Andreessen, he champions America's dominance in AI to thwart Chinese technological supremacy. Like Thiel, he was Venis' first backer, reminiscent of Thiel's early investment in Facebook. He also carries the same quasi-philosophical, near-apocalyptic tone both men are known for. Cory Michael Smith's Venis – The Dynamo Image credits: X As the founder of Traam, a social media empire, Venis bears similarities to Elon Musk and Mark Zuckerberg. His fixation on outer space, emotionally stunted relationship with his child, and moral detachment from the platform's societal consequences place him squarely in the mould of Silicon Valley's most notorious disruptors. Ramy Youssef's Jeff – The Usurper Image credits: X Jeff begins the film with a conscience but gradually succumbs to the ruthless survivalist ethos of his peers. He reflects the trajectory of figures like Sam Altman , who launched OpenAI as a non-profit but later oversaw its transformation into a capped-profit entity. Other influences include Demis Hassabis and Dario Amodei—pioneers of AI who straddle the line between idealism and pragmatism. Jason Schwartzman's Souper – The Hanger-On Image credits: X Souper is the outsider, the least wealthy, constantly trying to fit in. While not directly based on any specific figure, he channels the mindset of minor players in the tech world desperate to be accepted into the elite club—even if it means compromising every shred of dignity. With Mountainhead, Armstrong trades the dynastic machinations of legacy media for the sociopathic ego trips of modern technocracy. The setting may be remote and insulated, but the questions the film poses—about power, legacy, mortality, and morality—are anything but.
Irish Independent
05-06-2025
- Entertainment
- Irish Independent
Mountainhead: More fast-talking billionaire backchat from the ‘Succession' creator leaves nothing unsaid
The Emmy Award-winning scribe doesn't mess about. Six months ago, Armstrong hadn't yet developed a working script for Mountainhead. Shooting commenced in March, wrapped in April, and the film was completed in May. A phenomenally quick turnaround, then, even by today's speedy industry standards. Why the sudden rush? Beats me, but Mountainhead imagines a world where troublesome online platforms spread toxic lies, and where greasy billionaires interfere in global politics. Sound familiar? Armstrong takes aim at icky tech bros and problematic investors. His film is funny and scary, a ballsy, blistering satire that practically goes out of its way to match and indeed mimic the brilliant chaos of Succession. This, I suppose, is a good thing. There are shades of Dr Strangelove and – much later – The Shining. Unusual comparisons, for sure, but Mountainhead is an unusual film, and it doesn't always stay inside the lines. We begin and end in the mountains. Traam, the fictional social media platform that makes the world go round, has recently introduced new features that allows users to create and disseminate AI-generated, deepfake 'news' reports, the kind that might cause a riot or start a war. It's all under control, says Traam CEO Venis 'Ven' Parish (Cory Michael Smith), but the rest of us know the truth. Things are spiralling, governments are panicking, and Hugo 'Souper' Van Yalk (Jason Schwartzman) is starting to worry about his big weekend plans. He's invited his filthy rich pals to stay at a swanky new pad in Utah he calls 'Mountainhead'. It's the kind of place that has a bowling alley in the basement, where everything is overpriced, but nothing ever works the way you want it to. Souper picked the name as a sort of tribute to Ayn Rand's 1943 novel The Fountainhead – but really, he should have gone with something else. ADVERTISEMENT Ven is impressed. So, too, is Traam investor Randall Garrett (Steve Carell) and AI specialist Jeffrey 'Jeff' Abredazi (Ramy Youssef), who mocks Souper for his latest idea, a 'lifestyle super app' named Slowzo, which he hopes the other boys will pay for. If they do, he'll make his first billion. If they don't, the lads will keep on calling him 'Soup Kitchen' (Armstrong deserves an extra star for that wickedly funny nickname). Here's what we know: the world is on fire; Randall is terminally ill; Ven is single-handedly responsible for an impending global conflict; Jeff runs a company that could fix everything; and Souper is starting to believe the others when they tell him he should run for power in Argentina (don't ask). When the US president starts calling, Randall and Ven allow themselves to imagine a new world under their leadership. You wouldn't trust these men to run a bath, much less a planet in peril. But the 'Brewsters' believe their own hype. Except maybe Jeff, who's worried about what his girlfriend is up to on her holliers. Where is all this going? And is there a lesson to be learned at all from Armstrong's intricate and, occasionally, impenetrable chamber piece? Maybe. The relentless tech-bro babble will do your head in, and that's probably the point. Succession wasn't subtle, and neither is Mountainhead, a talky, operatic film where everything is a joke and nothing is left unsaid. Tiresome? A bit. Frustrating? Sometimes. But the conversation changes so much that there's no time to be bored. You won't always know what Ven and the other space cadets are talking about. Like other Armstrong shows, the trickier details take a while to settle – but it's fun to watch cranky, callous billionaires squirming and squabbling about matters that really shouldn't concern them. Carell, meanwhile, is so good as the slippery elder statesman of the pack that you wonder if Armstrong should have built an entire series around him. Who wouldn't want to watch a show about a terminally ill Steve Carell-shaped plutocrat with wacky ideas about how to prolong his life? This will do, for now. Three stars
Yahoo
05-06-2025
- Entertainment
- Yahoo
'Mountainhead': 'Succession' creator's film inspired by former crypto mogul convicted of fraud
Succession creator Jesse Armstrong has moved from telling a story about a media dynasty, to a tech bro satire with the film Mountainhead (on Crave in Canada), written, directed and produced by Armstrong. Starring Steve Carell, Jason Schwartzman, Ramy Youssef and Cory Michael Smith, the movie begins as four tech tycoons gather for a weekend of fun, amid an international crisis and the potential downfall of civilization. They're all staying at a mountain mansion owned by Hugo, who goes by "Souper" or "Soup" (Jason Schwartzman). Soup has a wellness app he's trying to make successful, and his net worth is also the lowest of the group, just a mere $521 million. Randall (Steve Carell) is a venture capitalist who has received a terminal cancer prognosis, which he's refusing to accept and demands that there's a doctor who can cure him. Venis (Cory Michael Smith) is described as "the richest man in the world," the social media titan of the company Traam. A new feature that can create deepfake videos, which has sparked global chaos from the spread of disinformation. Conversely, Jeff (Ramy Youssef) has created AI technology that can be used as "guardrails" for disinformation online. As Jeff says in the movie, "I'm sitting on the cure to info-cancer while everybody dies." As Armstrong described the characters in his film, they're "the four horsemen of the apocalypse." "The film hopefully plays on a line of, when you look at it one way it feels like a comedy, in another way it's a tragedy," Armstrong said. For Armstrong, he didn't necessarily set out to write another project about the rich and powerful. But the idea for Mountainhead came after he wrote a book review about Sam Bankman-Fried, the U.S. crypto mogul who's serving a 25-year sentence after being convicted of stealing $8 billion from customers of his FTX cryptocurrency exchange. "Often, for a writer, the first thing that starts working for you is ... getting the voices. That was very important for Succession, the tone of voice of how that family interacted," Armstrong explained. "And I started to feel like, oh I can hear these guys, how they talk and how they see the world. And that was the thing that clicked and made me think, I think I want to write in this world." "Succession was about old media, legacy media, and this is ... about the new media, the social media, which is the way that, increasingly, people get their sense of the world and information."But Armstrong, Smith and Youssef are all in agreement that there's one scene that's particularly critical for the whole movie. Jeff is a unique character, because he does have an understanding how of Venis' company is sending the world into chaos, but boosting his net worth is still a priority for Jeff. "It was a really fun thing to play because on a level, he kind of is able to see the larger issue with a bit of empathy, and at the same time he kind of wants to monetize that empathy," Youssef said. "I don't think that I could look at him as holistically better than the rest of the guys, even though he might feel like the moral conscience at times. He's just as driven by monetizing as they are." Then we get to one moment in the film where Soup, Randall and Venis are all talking about possibly killing Jeff. "He wants to stop a new world from being born," Randall says. The three friends talk about how it could happen, and any possible "moral issues" are explain away by the thinking that the greatest happiness for the greatest number of people happens in the "absence" of Jeff. From conversations about how they'll actually do it, and how they'll get a "pre-pardon" from the president, the dialogue is quick, witty and absurd in a particularly interesting way. "I loved writing it. It's a crucial moment," Armstrong said. "The tone has been somewhat heightened all the way through the movie, but that one is where an extraordinary idea gets introduced." "So it was a technical challenge, which I really enjoyed. And I have to say it's one of one of the most exciting scenes I've ever been involved with shooting, because watching those three brilliant comic actors play off each other with quite a dramatic frame, but with some words that I was pleased with, and feeling like I'd given them good ammunition. ... And it worked on the day. ... And I was just in awe of the actors, watching them navigate their way through it." Smith called working on this scene one of his "favourite experiences as an actor." "It was like in real time ... knowing that this is just a great scene," he said. "Jesse wrote a great scene and doing it, we just didn't want to stop." "I haven't done a lot of comedy and the way that scene uses comedy, but is so truly deadly serious, I just think is masterful from Jesse's position. But getting to play in that scene and watch Jason and Steve navigate that was the greatest lesson in comedy ... that I've ever had, and will probably ever have. I just really loved that day." "I loved watching that day," Youssef added. "I was just sitting there ... watching them talking about killing me. Very fun."
