Imagine that from now on, the future of AI video generators being able to make the entire movie may not be too far away.

The pictures then derive scripts from the movie, large language models that originated from the entire run of the HBO series "successor" and every post in the past six months, writing about the tech giants of our time dominance: Zuckerberg, Musk, and Altman. Maybe it was Peter Thiel.

Then, for prompts to bring it to life, imagine typing in the AI ​​Video Generator:

"Creating a movie that feels like being in a 'succession' world, but a completely different character comes from Silicon Valley rather than traditional media. It makes people satirize Ai Run Amok's worst-case scenario to create a sense of humor to avoid inducing depression."

This is probably the best way to explain the new movie "Mountainhead", although it's not a product of any software. This is just a hot dream of the splendid thoughts of "inheriting" creator Mere Mortal Jesse Armstrong.

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In stark contrast to the typical glacial speeds of most film or television developments, the film has been conceived, pitched and rushed for months, as Armstrong felt strongly that his story would resonate with our stories, which, while we are still in it, reflects the current moment in our culture.

Have done it. Today, you don’t have to work in Silicon Valley to suffer the churn of constant headlines, describing the potential of a Frankenstein-like technology that almost reminiscent of surreal images of their thoughts, as their thoughts can imagine lower barriers to cost or distribution.

But, more importantly, “Mountainhead” was released just the moment when AI was worried that it would definitely fall into speeding. Starting with Google's release of WEO3, this is what just happened in the past few weeks, and it's by far the most complex video generation tool. If that's not scary enough, Openai just formed a partnership with former Apple Design Guru Jony Ive to release new AI-powered devices. Meanwhile, Meta is reportedly in trouble developing its own Llama LLM, raising concerns about the urgent measures the company may take to catch up.

What a coincidence was Armstrong's decision at the time, and his decision to make "mountains" a hasty work led to a film, a time that could not be taken to dig out our anxiety about AI and the anxiety of those who have the right to deploy it in pursuit of profits.

But "Sunhead" is also a triumph of the comedy variety timing, because while its plot sounds like a 21st-century spin in a disaster film of the 1970s, it also manages to be shocking, a satirical masterclass that is a quartet of quartets capable of playing lines with Deadpan Perfection.

"Mountainhead" is located in a luxurious mansion located in Utah's snowy mountains, where four billionaires Tech Mogul Pals gathered for a few days. The timing of their vacation is accidental, as they are quite isolated from the rest of the world, which happens to be in anarchy at the same time. Worse, several of them may be the cause of this confusion. Even quality brother time or luxury amenities can’t completely stumbling the reality when they watch chaos unfold from their phones.

When the coming Revelation ascends them, they begin to open each other.

At the heart of the “Mountainhead” narrative is a fictional social network called Traam, which just used AI content generation tools so powerful that participation on the platform exploded. However, this innovation has unfortunate side effects: Too many bad actors are starting to create deep inflammatory, causing violence globally.

Part of what makes “Mountainhead” fascinating is that as the action unfolds, we draw more information about each character from their actions, and what they say is an interesting internal debate that sparks the audience: Which of these characters is morally most offensive?

The game was intense, starting with Hugo, played by Jason Schwartzman, the owner of the mansion. He is a laggard in the foursome, as he suffers from shame in wealth in the range of less than $1 billion.

He is probably the most sympathetic of the group, because he obviously isn't using the entire party as an excuse to get any of them to fund his new health app joint venture. It was timely and clear that he desperately needed to do anything to get their verification, let alone their money.

It says a lot about "Mountainhead", it handed it to a seasoned comedy genius like Schwartzman, whose best role is easy since the film brought him the 1998 breakthrough road, "Rushmore".

However, the film is probably the least known of its four protagonists, Cory Michael Smith, who once served as the most important role of the fictional Traam CEO Venis. His $220 billion net worth makes him the richest in the group. Venis is a mix of Zuckerberg and Musk, blending the former’s spirit of “moving quickly and destroying things” to increase its user base in a cruel way for the latter’s robots to do whatever it takes.

Venetian’s obscene wealth proves an unlimited narcissism, which reflects our most fears about tech tycoons. He repeatedly commented that other people on Earth are not on the same plane of existence as him or his partners. Suitable for those who profit from making images that blur the line between truth and fiction, he does not think others are real.

But what's interesting here is that Armstrong wouldn't write Venice as a one-dimensional monster. With the technology he released wreaked havoc, Venice's investment was only enough to make himself a little scared, but he was unwilling to over-filter his loneliness impulses.

If Smith is Zuckerberg's stand-in, Steve Carell is playing the Peter Thiel type, an old brother advisor who we learnt was Venice's first investor. But Carell's character is trying to hide a secret from his friends that he died in some kind of unspecified, incurable medical condition, which has kept him for several years. Of course, he is also a narcissist who cannot accept this, and he denies his belief that Tram will eventually evolve to support transhumanism, a technology that will allow his soul to survive forever once he lowers his mortal circle.

This delusion left him in conflict with Jeff, the last character played by Ramy Youssef. Jeff seems to be both the most serious and regrettable character. He seems to be most bothered by what is shown in the real world, but it is not so troublesome that he won't make a deal with Venis to blend his own special AI, which Traam's board believes will help consumers differentiate between real and fake videos.

Just like Jeff’s antidote to AI Poison Venis is actually killing the world, but not releasing it because he overdoses the toxic masculinity, which keeps these supposed friends on a constant competitive one-type upward state.

“This is not someone who should have the keys to the United States.”

In the mouth of anyone else on Earth, the conspiracy about global domination would be delusional enough to deserve a ticket for them. But the sick joke of "Shanhead" is that these characters are so powerful that they are not completely delusional.

Listening to them and talking about their ability to repair the world casually like a car repair will surely think of Musk's many public atmospheres, from his recently concluded career, he convinced the incumbent president to essentially hand over the keys to the U.S. government.

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The additional resonance of “Mountainhead” also distinguishes it from “inheritance” from the same release as the world tries to reflect.

Sure, the “inheritance” moment seems to stand out from the headlines of media trade publications, but that is largely derived from the loopholes in the Murdoch and Redstone, many of which were before the show.

"Mountainhead" is not a sequel or spinoff of "Inheritance", but it is also true. This is not a sequel in traditional sense, as it won't continue the myth of the Roy family media empire in any way. But this is a sequel, and in a sense, the "Mountainhead" character feels like he belongs to the same world.

Armstrong could have blended the world of “inheritance” and “mountainhead” in many cute crossover ways. I really expect Kendall Roy to stroll into a scene or two. Honestly, Armstrong could have swapped Jason Schwartzman's character for Kendall, the movie could have been lifted.

I've been marveling at the way each issue "inheritance" is the bottle episode contained in the room of a building. But it was honor to Armstrong, and it was nothing. Instead, it gives the action a more coiled force, as if the character collects steam by bounces off the wall.

By squeezing the narrative of “Mountainhead” into a mountainside mansion, the film operates through similar dynamics. So much so that I honestly think Armstrong can have it and maybe still should put this story on the Broadway stage.

But I also don’t want to exaggerate the similarities between the shows, as “mountains” are unique in many key aspects. On the one hand, "inheritance" is more like an actor's display. Family drama makes it more emotionally profound and tends to be drama more than "Sunhead".

I also want to distinguish between Armstrong's two works, because, fair warning: I don't think every "inheritance" fan will like "mountains". Yes, it's in the same world, but there are some tone differences that will disappoint the "successor" fans, which is equivalent to a spin-off movie.

I don't want to ruin this movie with the spoiler, but please prepare the story. This is like "inheritance" the world, almost like crossing magical realism. And I don't think some viewers want to make a leap.

"Mountainhead" is like "inheritance" because it is dark and interesting at the same time, but it becomes darker, darker, and crazier, and "inheritance" does not make sense. But it's also the fun of "Mountainhead". It's like watching the car slide into the other whole gear you don't know Armstrong can drive.

Strangely, although “Harde” becomes increasingly ridiculous as the story unfolds, it still manages to capture the instability of our moment as a society. Whenever you read about AI or reckless tycoons, it thinks of that worst.

"Strict Business" is Variety's weekly podcast, a conversation with industry leaders about the media and entertainment business. New episodes every Wednesday are available for download on iTunes, Spotify, Stitcher and Soundcloud.