Jesse Armstrong’s New Movie Mountainhead Shares Surprising Similarities with Succession

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Greetings! I’m delighted to introduce you to Mountainhead, my grandiose snowbound retreat nestled in the heart of Utah, a place that serves as a haven for me and my tech-savvy pals during our thrilling 36-hour poker marathons, filled with camaraderie, witty exchanges, and the occasional tipple. (Yours truly is Hugo van Yalk, a software developer, in case you were wondering.)

No business talks, no lunch meetings, no power suits.

However, it’s come to light that the items on the agenda are panic in financial markets, ethnic conflicts, societal disintegration and discussions about global coups – these are the swift, catastrophic outcomes of Venis hastily implementing an unrefined update to his social media service, Traam.

Step into Mountainhead, a film by Jesse Armstrong, creator of Succession, that combines dark humor and unsettling suspense. At 54 years old, this British writer marks his first foray into feature-length dramas as well as his directorial debut. This thought-provoking movie takes aim at the consequences when America’s powerful male elite, or the so-called “broligarchy,” is unleashed: things soon become murky, and yes, there’s a definite Musk-like feel to it all.

Initially, it’s clear that there are striking similarities in the ways Donald Trump, along with Elon Musk – once associated with DOGE and armed with a chainsaw metaphorically speaking – and Mark Zuckerberg who seems to bend facts and checks, have utilized social media for their respective purposes.

Armstrong, based in south London, concurs: “It’s clear to see similarities between Trump and Musk.” However, he clarifies that this is not a direct comparison. The digital tools depicted in the film are fictional. They symbolize our collective fear that social media, with its rapid, uncontrollable flow of content, mirrors a frightening escalation of our current reality. This fear stems from observing how these highly reactive platforms amplify hostilities and divisiveness so swiftly and intensely.

In this room are many men who appear to be white – Armstrong notes that the absence of diversity is reflective of the individuals in charge of these companies. He suggests they’re often driven by power, ego, and wealth. The question arises: How risky might they be? “Well, if you choose to view it positively,” replies Armstrong with a chuckle from his edit suite in central London, working tirelessly against his tight deadline for the film, “they’d say there are boundless opportunities!” Yet, he points out that these opportunities have led to an increased likelihood that the world could be reshaped into unforeseen forms by just a handful of influential individuals.

In my opinion, Mountainhead mirrors the breakneck pace at which the plot unfolds with an equally intense energy that seems inherent to the film’s very core. This whirlwind of events was conceived by Armstrong mere six months ago, during the height of the American presidential race. With Succession having concluded its critically-acclaimed, four-season run two years prior, Armstrong had been brainstorming a couple of fresh ideas for new series.

In the course of penning a critique for The Times Literary Supplement regarding Michael Lewis’ biography of imprisoned crypto pioneer Sam Bankman-Fried, “Going Infinite”, a sudden fascination with tech-related literature and podcasts took hold. The narratives emanating from Silicon Valley’s realm, the tech industry, began to resonate deeply within me. A particular storyline started to materialize, yet I found myself yearning for distraction to focus on other tasks. However, my thoughts persistently returned to this captivating narrative, making it impossible for me to let go.

In the end, he reached out to Casey Bloys, HBO’s CEO who he worked with on Succession: “I was thinking there might be a one-off opportunity here. What are your thoughts?” Bloys agreed. Then, he gathered his trusted colleagues from Succession, including Tony Roche and Lucy Prebble, fellow British screenwriters, and asked: “Could this potentially be something I could knock out quickly?” Everyone shared the same excitement. In other words, they gave him the freedom to take on the project by saying yes, which he humorously described as giving him enough room to hang himself if it didn’t work out.

After presenting it in December, Armstrong took ten days to draft a script in January. He then spent February making revisions and preparing for production. Filming took place over 22 days in March in the mountains surrounding Park City, Utah. Editing was carried out across April and early May, resulting in the film’s release on June 1st.

The rapid production process was both pragmatic and imaginative, stemming from a blend of apprehension about directing, yet an enthusiasm for diving in headfirst and discovering the outcome. It also carries a somewhat distorted sense of reality since none of the characters or events depicted are real, but viewers may sense that they’re all intertwined. I hope you can watch it next year and find it still amusing and engaging. However, it seems to be a timely story.

The story is filled with precise technical terms and casual slang, often used in tech and among friends. It’s a ruthless setting where labeling someone as a “decel” – a person who hinders growth, known as a decelerationist – carries more insult than an incel. However, Armstrong ensures the audience isn’t overwhelmed by the science details.

I’m aiming for the film to be similar to ‘Succession’, where the intricate financial aspects like share weightings and various corporations may not be fully grasped by everyone. Instead, focus on the emotional connections between the four main characters. The technicalities of ‘hyper-scale data centres’ and AI development can take a backseat – you should primarily enjoy the story and relationships. As a writer and director, my goal is to make the narrative engaging, even if you don’t fully understand the nuances of AI development.

Instead of overwhelming Armstrong’s massive personal data center, we wonder, what’s next? Given that his former Peep Show co-stars, David Mitchell and Robert Webb, are reportedly creating another sketch show for Channel 4, is there a possibility he might revisit lighter genres for a break?

He responds with a grin, saying, ‘Perhaps.’ As for what I’d add, it’s challenging, to say the least, crafting half-hour sitcoms. It’s the most compact form of television writing you can engage in. While it might be appealing not to ponder the end of the world through right-wing politics, writing a show like 30 Rock could be tougher than being Samuel Beckett – that’s my opinion. Therefore, I won’t return to sitcoms. But every now and then, I’d enjoy penning a lighthearted sketch.

Mountainhead is available to watch on Sky and NOW.

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2025-06-03 02:34