Following the intense narrative of “Succession” presents a formidable challenge-so much so that HBO’s “Mountainhead” can be seen more as a brief interlude than a true continuation. Crafted by Jesse Armstrong, the mastermind behind “Succession,” “Mountainhead” offers a stark departure from the high-stakes corporate drama, leaning into a more contained, theatrical style. While it may share a milieu-the world of the ultra-wealthy-and a rapid, verbose, and often profane tone, it’s notably less ambitious in scope. The screenplay was penned in just a few weeks, and much of the story unfolds within the confines of a single alpine retreat, emphasizing intimacy over grandeur. As if to underscore its modest ambitions, “Mountainhead” is presented as a made-for-TV feature, debuting on the final day of this year’s Emmy eligibility period-akin to a student submitting homework just before the deadline.
What “Mountainhead” Offers to Viewers
If viewers approach “Mountainhead” with tempered expectations, they will find plenty to appreciate. Its 109-minute runtime serves as a vessel for Armstrong to purge lingering “Succession” influences from his creative palette. Notably, several key figures from “Succession,” including Sign Mylod, Will Tracy, and Lucy Prebble, are credited as executive producers, hinting at a shared creative universe. Yet, “Mountainhead” carves out its own thematic territory, focusing on the corrosive effects of technology and the reckless individuals wielding it-paralleling, in a way, the ruthless power struggles of the Roy family but with a sharper emphasis on the destructive potential of digital innovation.
The Setting and Central Conflict
The story revolves around a clandestine gathering of ultra-wealthy elites known as the Brewsters, who convene in Utah for their exclusive poker night. On the eve of this clandestine event, Venis (Cory Michael Smith), a Zuckerberg-like CEO of the social media giant Traam, unveils a groundbreaking, deepfake-enabled feature that ignites a global firestorm of misinformation. Venis jokes about posting a deliberately misspelled “fuuck,” which his sycophants find hilarious, even as the new technology fuels sectarian violence by blurring truth and falsehood. Meanwhile, Jeff (Ramy Youssef), the creator of an AI technology touted as a cure for “information cancer,” finds himself caught between ethical concerns and the cutthroat world of tech billionaires. His personal life is no less tumultuous, as his girlfriend Hester (Hadley Robinson) departs for a provocative gathering in Mexico, leaving Jeff to grapple with insecurities and doubts.
Character Dynamics and Parallels to “Succession”
The cast of “Mountainhead” echoes familiar archetypes from “Succession,” yet with a fresh twist. Venis’ indifference to the chaos he’s unleashed mirrors the real-world detachment of tech moguls like Mark Zuckerberg and Sheryl Sandberg during crises such as the 2016 election or the Rohingya genocide. Jeff’s envy of Hester’s independence echoes Connor Roy’s attempts to secure Willa’s loyalty, highlighting the fragile and transactional nature of these relationships. The characters’ interactions reveal a superficial veneer of camaraderie, underpinned by a competitive drive that often devolves into petty rivalries. The film suggests that beneath their wealth and power, these individuals are driven by insecurities and a desire for validation, even if they profess concern for one another.
Broader Social Commentary
“Mountainhead” extends its critique beyond individual characters to comment on the broader societal implications of technological disruption. The indifference of Venis to the chaos he’s caused reflects the real-world attitude of Silicon Valley leaders during pivotal moments, such as the 2016 U.S. presidential election or the Rohingya crisis. Similarly, Randall’s obsession with achieving digital immortality-an extension of the desire to escape mortality-parallels the pursuits of figures like Peter Thiel and Bryan Johnson, who invest heavily in longevity research. The film underscores a disturbing trend: the obsession with wealth and innovation often masks a profound fear of death and insignificance.
Themes of Wealth, Power, and Emotional Detachment
Armstrong’s exploration of the psyche of the ultra-rich reveals a landscape where genuine friendship is scarce, replaced by performative rituals and superficial displays of loyalty. The characters’ interactions often feel more like competitions than connections, with even expressions of care serving as strategic moves. The film critiques the notion that these individuals are capable of authentic relationships, suggesting instead that their bonds are rooted in shared status and mutual utility. The superficiality extends to their self-perceptions, with some characters viewing their wealth as a form of divine right or a measure of their worth.
Stylistic Approach and Narrative Focus
As a film that functions as a precursor to a potential series, “Mountainhead” lacks the time to develop complex psychological nuances or intricate interpersonal dynamics that made “Succession” so compelling. Instead, it leans heavily into farce, exaggerating the callousness, insecurity, and desperation of its characters until they reach a breaking point. Among the cast, Randall’s frantic denial of his mortality offers a glimpse of vulnerability, but even this is tinged with grandiosity reminiscent of Elon Musk’s larger-than-life persona. The film’s tone oscillates between biting satire and bleak commentary, aiming to expose the underlying dysfunction of the privileged class.
Critical Perspective and Cultural Reflection
Armstrong demonstrates a keen understanding of the strengths and limitations of contemporary media. “Mountainhead” is less about deep psychological insight and more about incisive critique, using humor and sharp references-ranging from philosophical jabs at Ayn Rand to stark references to real-world figures like Jamal Khashoggi-to underscore its points. The film’s tone is often mordant, reflecting a world where wealth and innovation are intertwined with moral decay and existential dread.
“Mountainhead” is currently available for streaming on Max and is scheduled to air on HBO on May 31st at 8 p.m. ET.
