Following "Inheritance" is a tough feat - so much that it's best to think of the HBO movie "Mountainhead" as more pape than the next show. Written and directed by "Mountainhead" creator Jesse Armstrong, it may share an environment (super rich) and comic rhythms (fast, lengthy, profane, profane) with the acclaimed drama, but by design it isn't that ambitious. Armstrong wrote the script in a few weeks, with most of the action being confined to the Alpine Retreat of the same name. As if to convey a message to the audience, "Mountainhead" even takes the most enjoyable form: the production of TV movies, aired on the last day of this year's Emmy Qualifications window, like a student handing out his assignment before the deadline.

If someone receives that message and sets expectations accordingly, then "Mountainhead" can offer a lot. Yes, its 109 minutes may be a way for Armstrong to drive away the last trace of "inheritance" from his system. ("Inheriting" midstream large Mylod, Will Tracy, Lucy Prebble and others are all considered executive producers.) However, "Mountainhead" has its own focus: the destructive influence of technology and the destructive influence of the characters who control it, as if the "Inheriting" Roys were replaced by Quartet of Lukas Matsssons. Alexander Skarsgård's homemade entrepreneur is in comparison to adult Roy children's inheritance, unearned wealth. In "Mountainhead", the work itself is the center stage, even if its consequences are not understood by its characters, and it is incredible.

"Mountainhead" assumes the existence of a billionaire fraternity called "Winemakers," which once came to a half-rule poker night in Utah. On the eve of the brother’s hanging, Venice (“Saturday Night” and “May December”’s Cory Michael Smith, CEO of Traam, the Zuckerberg-style CEO of social media company Traam, has launched a new, deep-fried feature that has caused a global misleading global bonfire. Venice joked that he should respond with “Fuuck” of two Us. His sopophant laughed out loud even as the new feature stimulated sectarian violence by eroding users’ ability to tell the truth from falsehood.

Jeff (Ramy Youssef) is the inventor of AI technology, which represents Traam's "Fuckin'Chic Acid's 4chan in Info-Cancer". (The details here are hazy at best; that's important.) But even though Jeff is Brewster, the biggest burden of conscience, he still doesn't care much about the moral transcendence of Venis, rather than the shadow of Jeff's lack of the "founder energy" of a high-profile announcer. Jeff's billions of dollars cannot buy the loyalty of his girlfriend, Hadley Robinson, who took off for a merry party in Mexico. “Just because people have sex at parties doesn’t mean it’s a sex party,” she didn’t really improve him. The four-man is financier Randall (Steve Carell), who denies the prognosis of his advanced cancer, and host Jason Schwartzman, who is known as Souper because he is known in the soup kitchen, because his Nimi's wealthy fate is ridiculous, which makes him "the poorest billionaire in the game."

You may have picked up some echoes in the previous paragraph of the summary. Souper's self-pity imitates Tom Wambsgans' assessment of $5 million wealth as "the poorest man in America" ​​and "the tallest dwarf in the world"; Jeff's jealousy of Hester recalls Connor Roy's (successfully) attempts to buy his paid marriage wife Willa. A few years after the ending, a comparison to "inheritance" may be inevitable, but "Mountainhead" wins them too.

But the "Mountainhead" looks outward and backward. I admit to screening the film shortly after finishing "The Careless Man" and former Facebook executive Sarah Wynn-Williams's entire work on the internal operations of the company in the 2010s. Venice's total indifference to the chaos he caused, and his negation of it, is entirely with how Mark Zuckerberg, Mark Zuckerberg, Sheryl Sandberg and colleagues respond to the potential moments of the 2016 election, such as the 2016 election or the Rohingya genocide in Myanmar. Similarly, Randall's obsession with "post-humanity" survives eternity in cyberspace, which comes from the same denial of death, which leads characters such as Peter Thiel and Bryan Johnson to seek extreme, often extreme means of prolonging life. Money can be bought so much; why not live forever?

In other words, my compulsion to Armstrong's analysis of the broken psychology of plutocrats, especially when their wealth comes from "destruction" and "innovation." I'm less forced about the idea that these people have the ability to build close friendships - not to mention that they become friends with each other. It’s fun to watch these people attend homosexual social rituals, such as wiping their net worth on exposed boxes. There is even a ceremony when one brewster surpasses another in the ritual that is important to them. For the same reason, it is also convincing when they claim to care for each other. Armstrong needs a reason to bring these people to the same room, but sincere feelings are not a reasonable emotion.

As a movie rather than a series, "Mountainhead" doesn't have time to cultivate psychological nuances or interpersonal dynamics that make Roys so indelible. (This part explains the more established actors who bring gravity instead of slowly bringing their characters into the phone card.) Instead, “Hedge” goes all out, turning to the torture of Venice, Jeff’s opposition, Hugo’s insecurity, Hugo’s insecurity and Randall’s despair at their inevitable burning point. Of these four, Randall is closest to some kind of sadness with his inescapable denial of the inevitable, but it is Muschia's grand attitude that bears the burden of the comic when he does not casually label the Earth as a "solid starter planet."

Armstrong seems to rely on the inherent strengths (speed, focus) and weaknesses (emotion, depth) of his current medium. The ambitions of “Mountainhead” are much lower than the potential dysfunction of diagnosing the privilege of a few people running the world, which puts their dysfunction in demanding performances. But with reference to moral philosophy, “Ayn Bland”, in a particularly bleak moment, Jamal Khashoggi’s “Mountainhead” has clarity and erudition that can achieve its closer goals.

"Mountainhead" is currently on Max and will be aired on HBO on May 31 at 8 a.m. ET.