WEBVTT - ‘Mountainhead’ Mines AI Anxieties at Just the Right Time

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<v Speaker 1>Welcome to another episode of Strictly Business, the podcast in

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<v Speaker 1>which we speak with some of the brightest minds working

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<v Speaker 1>in the media business today. I'm Andrew Wallenstein with Variety

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<v Speaker 1>Intelligence Platform. Imagine a future that may or may not

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<v Speaker 1>be too far from now, in which an AI video

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<v Speaker 1>generator is capable of cranking out an entire movie, its

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<v Speaker 1>script derived from a large language model, fed nothing but

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<v Speaker 1>the entire run of the HBO series Succession, and every

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<v Speaker 1>article from the past six months written about the reigning

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<v Speaker 1>tech titans of our time, Zuckerberg, musk Altman. Maybe a

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<v Speaker 1>dash of Peter Teel that may be the best way

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<v Speaker 1>to explain Mountainhead, a new movie debuting May thirty first

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<v Speaker 1>on HBO from Jesse Armstrong, the creator of Succession, the

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<v Speaker 1>critically acclaimed series from the same network. I got a

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<v Speaker 1>lot of thoughts to share about this one. Stick around.

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<v Speaker 1>Welcome back to Strictly Business, where this week I'm going

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<v Speaker 1>deep on the new movie Mountain Head. In stark contrast

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<v Speaker 1>to the typically glacial speed with which most movies or

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<v Speaker 1>TV are developed, the film was conceived, pitched, and rushed

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<v Speaker 1>through production in a matter of months because Armstrong felt

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<v Speaker 1>strongly that his story would resonate most reflecting the current

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<v Speaker 1>moment in our culture while we're still in it and

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<v Speaker 1>does it ever, You don't have to work in Silicon

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<v Speaker 1>Valley these days to be exposed to the constant churn

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<v Speaker 1>of headlines describing the Frankenstein like potential of a technology

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<v Speaker 1>that allows just about anyone to conjure up hyper realistic

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<v Speaker 1>images of anything their minds can imagine with lowered barriers

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<v Speaker 1>to cost or distribution. But what's more, Mountainhead is being

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<v Speaker 1>released at exactly the moment when AI fears must be

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<v Speaker 1>kicking into overdrive. Look at what's just transpired in the

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<v Speaker 1>past few weeks, starting with Google's release of VO three,

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<v Speaker 1>the most sophisticated video generation tool to hit the mass

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<v Speaker 1>market to date. If that's not scary enough, Open Ai

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<v Speaker 1>just unveiled the partnership with former Apple design guru Johnny

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<v Speaker 1>Ive to release new AI power devices. Meanwhile, Meta is

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<v Speaker 1>reportedly running into trouble developing its own Lama LM, invoking

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<v Speaker 1>fears of what measures the company could take in order

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<v Speaker 1>to catch up. How serendipitous for Armstrong then, that his

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<v Speaker 1>decision to make Mountainhead a rush job has resulted in

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<v Speaker 1>a movie that could not have picked a scarier time

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<v Speaker 1>to mine our anxieties about AI and the people with

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<v Speaker 1>the power to deploy it in pursuit of profit. But

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<v Speaker 1>Mountainhead is also a triumph of timing of the comedic variety,

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<v Speaker 1>because while the plot might sound like a twenty first

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<v Speaker 1>century spin on nineteen seven and these disaster movies, it

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<v Speaker 1>also manages to be uproariously funny. A masterclass in satire

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<v Speaker 1>anchored by a quartette of actors capable of delivering lines

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<v Speaker 1>with dead pant perfection. Mountainhead is set in an opulent

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<v Speaker 1>mansion nestled in the snowy mountains of Utah, where four

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<v Speaker 1>billionaire tech moguls have gathered for a few days of

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<v Speaker 1>R and R. The timing of their vacation is fortuitous,

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<v Speaker 1>as they're fairly isolated from the rest of the world,

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<v Speaker 1>which happens to be descending into anarchy at the same time.

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<v Speaker 1>What's worse, several of these friends just might be responsible

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<v Speaker 1>for this chaos, and as they watch the chaos unfold

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<v Speaker 1>from the safe distance of their mobile phones, not even

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<v Speaker 1>quality bro time or luxury amenities can keep reality entirely

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<v Speaker 1>at bay. As the impending apocalypse turns the heat up

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<v Speaker 1>on them. They start to turn on each other.

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<v Speaker 2>Guys, is this on every channel? There have been a

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<v Speaker 2>number of occurrences since your launch. You and officials are

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<v Speaker 2>now openly attributing the recent uptake and ethnic tention to

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<v Speaker 2>powerful new generative AI tools unveiled last week on TRAM.

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<v Speaker 2>I just want to say, this is not on you venus,

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<v Speaker 2>Obviously it's not on me. Why would you even say that.

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<v Speaker 1>Your platform is inflamed, vobal situation, weapons, stock piling, some

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<v Speaker 1>bank fronts, violence, chaos, and people are dying.

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<v Speaker 2>You're not real and don't explode like that. Head. Don't

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<v Speaker 2>explode like that?

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<v Speaker 1>You know how to heads explode. At the center of

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<v Speaker 1>the narrative, a Mountainhead is a fictional social network known

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<v Speaker 1>as Tram, which has just been supercharged with AI content

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<v Speaker 1>generation tools so powerful that engagement on the platform explodes.

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<v Speaker 1>But there's an unfortunate side effect of this innovation, too.

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<v Speaker 1>Many bad actors start to create incendiary deep fakes, sparking

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<v Speaker 1>violence all over the globe. Part of what makes fountain

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<v Speaker 1>Head compelling is that as the action unfolds and we

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<v Speaker 1>learn more about each character from their actions and what

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<v Speaker 1>they say, it sparks for the viewer and internal debate

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<v Speaker 1>which of these characters is the most morally repugnant. The

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<v Speaker 1>competition is stiff, starting with Hugo played by Jason Schwartzman,

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<v Speaker 1>the owner of Mountainhead. Despite the fact he's the laggard

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<v Speaker 1>of this foursome because he carried around the shame of

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<v Speaker 1>having a fortune in the sub billion dollar range. He

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<v Speaker 1>might be the most sympathetic of the bunch were he

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<v Speaker 1>clearly not using the whole get together as an excuse

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<v Speaker 1>to get any of them to bankroll his new wellness apventure.

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<v Speaker 1>And what's come clear in time is he's desperate enough

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<v Speaker 1>to do anything to get their validation, let alone their money.

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<v Speaker 1>Says a lot about Mountainhead that it hands a veteran

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<v Speaker 1>comedic genius like Schwartzman what is easily his best role

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<v Speaker 1>since the movie that gave him his breakthrough way back

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<v Speaker 1>in nineteen ninety eight, Rushmore. And yet the movie might

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<v Speaker 1>belong to the least known of its four lead actors,

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<v Speaker 1>Corey Michael Smith, who has handed the juiciest role as Venice,

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<v Speaker 1>the CEO of the fiction Tram. He is two hundred

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<v Speaker 1>and twenty billion dollar net worth, makes him the richest

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<v Speaker 1>of the group. Venice is something of a mashup of

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<v Speaker 1>Zuckerberg and Musk, melding the formers move fast and break

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<v Speaker 1>things ethos to grow his user base at all costs.

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<v Speaker 1>With the latter's robotic ruthlessness. Venice's obscene wealth justifies an

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<v Speaker 1>unbridled narcissism that reflects our worst fears of tech moguls.

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<v Speaker 1>He repeatedly comments that other people on Earth just aren't

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<v Speaker 1>on the same plane of existence with himself or his buddies.

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<v Speaker 1>It's fitting for someone who's profiting from manufacturing images that

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<v Speaker 1>blur the lines between truth and fiction. He doesn't see

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<v Speaker 1>other people as real. But what's interesting here is Armstrong

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<v Speaker 1>doesn't right him as just a one dimensional monster. As

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<v Speaker 1>the technology he's unleashed greeks havoc. Venice is invested with

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<v Speaker 1>just enough self consciousness to be a little horrified by himself,

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<v Speaker 1>just not to the point where he could be bothered

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<v Speaker 1>to filter his solib selic impulses. If Smith is a

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<v Speaker 1>stand in for Zuckerberg, then Steve Carell is something of

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<v Speaker 1>a Peter Thield type, an older brother advisor figure who

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<v Speaker 1>he learned was Venice's first investor, but Correll's character is

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<v Speaker 1>trying to hide a secret from his friends, which is

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<v Speaker 1>that he's dying of some unspecified incurable medical condition that

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<v Speaker 1>gives him just years to live. Of course, he's too

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<v Speaker 1>much of a narcissist to accept that, and he channels

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<v Speaker 1>his denial into the belief that tram will eventually evolve

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<v Speaker 1>into supporting transhumanism, a technology that will allow his soul

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<v Speaker 1>to live forever once he's shuffled his mortal coil, and

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<v Speaker 1>that delusion puts him at odds with the last character, Jeff,

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<v Speaker 1>played by romy Yusef. Jeff seems to be possibly both

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<v Speaker 1>the most conscientious and deplorable character. He seems the most

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<v Speaker 1>troubled by the circumstances playing out in the real world,

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<v Speaker 1>yet not so troubled that he won't be rushed into

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<v Speaker 1>a deal with Venice to sell him his own special

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<v Speaker 1>blend of AI, which trams Board believes will help consumers

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<v Speaker 1>distinguish the difference between real and fake video. It's like

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<v Speaker 1>Jeff has the antidote to the AI poison Venice is

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<v Speaker 1>practically killing the world with, but won't release it because

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<v Speaker 1>he has overdosed on the toxic masculinity that keeps these

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<v Speaker 1>supposed friends, in a constant state of competitive one upmanship, are.

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<v Speaker 2>The smartest men in America. We literally have the resources

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<v Speaker 2>to take over the world.

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<v Speaker 3>This ugly death traphouse might have just become humanity's global

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<v Speaker 3>HQ boom.

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<v Speaker 1>The President once the speak to us, guys, we could

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<v Speaker 1>actually do this. I can handle Leargentina and Paraguay.

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<v Speaker 2>We could probably buy Haiti or Belgium.

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<v Speaker 1>Those chocolatey assholes in the mouths of anyone else on earth.

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<v Speaker 1>The machinations about global domination would be delusional in enough

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<v Speaker 1>to merit them a ticket to the looney bin. But

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<v Speaker 1>the sick joke of Mountainhead is that the these characters

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<v Speaker 1>are so powerful that they're not entirely delusional. Listening to

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<v Speaker 1>them talk about their ability to fix the world as

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<v Speaker 1>casually as they would be repairing a car will surely

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<v Speaker 1>bring to mind musks many public musings from the recently

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<v Speaker 1>concluded Doge phase of his career, in which he convinced

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<v Speaker 1>the current president to essentially hand over the keys to

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<v Speaker 1>the US government.

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<v Speaker 3>We're going to take a quick break, but when we return,

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<v Speaker 3>more on Mountainhead and the inevitable comparisons that will be

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<v Speaker 3>made to Succession, and we are backed and I'm talking

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<v Speaker 3>about Mountainhead. A very interesting movie coming to HBO May

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<v Speaker 3>thirty first, and HBO max at that the extra resonance

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<v Speaker 3>mountain Head achieves from being released at the same time

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<v Speaker 3>as the world it's trying to reflect is also what

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<v Speaker 3>separates it from Succession. Sure, there were flashes of moment

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<v Speaker 3>that seemed ripped from the headlines of the media trade

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<v Speaker 3>publications in Succession, but it's largely drawn from the exploits

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<v Speaker 3>of the Murdochs and Redstones, many of which preceded the

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<v Speaker 3>show by some years. Mountainhead isn't a sequel or spin

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<v Speaker 3>off to Succession, but it also kind of is not

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<v Speaker 3>a sequel in the conventional sense of the word, in

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<v Speaker 3>that it doesn't continue the mythology of the Roy family

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<v Speaker 3>media empire in any way. But it is a sequel

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<v Speaker 3>in the sense that Mountainhead's characters feel like they belong

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<v Speaker 3>in the same world. Armstrong could have brought the world

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<v Speaker 3>of Succession and mountain Head together in any number of

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<v Speaker 3>cute crossovery kind of ways. I really half expected Kendall

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<v Speaker 3>Roy to wander into any particular scene. Honestly, Armstrong could

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<v Speaker 3>have swapped out Jason Schwartzman's character for Kendall, and this

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<v Speaker 3>movie would have held up.

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<v Speaker 1>I've always marveled it the way each installment of Succession

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<v Speaker 1>was something of a bottle episode contained to the rooms

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<v Speaker 1>of a single building sometimes, but it's a credit to

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<v Speaker 1>Armstrong that there's nothing claustrophobic about this. To the contrary,

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<v Speaker 1>it gives the action of more coiled powers if the

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<v Speaker 1>characters gather steam by bouncing off the walls and each other.

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<v Speaker 1>By squeezing the narrative a Mountainhead entirely into one mountain

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<v Speaker 1>side mansion. The movie operates by a similar dynamic, so

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<v Speaker 1>much so that I honestly think Armstrong could have, maybe

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<v Speaker 1>should still put this story on a Broadway stage. But

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<v Speaker 1>I don't want to overstate the similarities between the shows either,

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<v Speaker 1>because Mountainhead is distinctive in a bunch of key ways.

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<v Speaker 1>Succession is more of an actor showcase. The family drama

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<v Speaker 1>lends itself to more emotional depth. It tilts more towards

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<v Speaker 1>drama than comedy the way fountain Head does. And I

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<v Speaker 1>also want to make a distinction between Armstrong's two creations

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<v Speaker 1>because fair warning, I don't think every Succession fan is

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<v Speaker 1>going to like Mountainhead. Yes, it's situated in the same world,

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<v Speaker 1>but there are some tonal differences that Succession fans looking

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<v Speaker 1>for a spin off movie might be disappointed by. I

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<v Speaker 1>don't want to ruin the movie with a spoiler, but

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<v Speaker 1>be ready for the story to take a turn. It's

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<v Speaker 1>actually such a departure from this Succession world as to

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<v Speaker 1>almost be like crossing over into magical realism. And I

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<v Speaker 1>don't think some viewers are going to be ready to

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<v Speaker 1>take that leap. It's like success It's like Succession, and

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<v Speaker 1>that it's dark and funny at the same time. But

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<v Speaker 1>this one just gets darker and darker and funnier and

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<v Speaker 1>crazier in a way it just wouldn't make sense for

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<v Speaker 1>Succession to do. But that's also the fun of Mountainhead.

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<v Speaker 1>It's like watching a car slip into a whole other

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<v Speaker 1>gear you didn't know Armstrong could drive. Strangely, though Mountainhead

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<v Speaker 1>gets more and more absurd as the story unfolds, it

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<v Speaker 1>also captures the precariousness of the moment we as a

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<v Speaker 1>societ society find ourselves in today. It conjures up just

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<v Speaker 1>the kind of worst case scenarios that come to mind

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<v Speaker 1>every time you read about AI or reckless moguls. That's

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<v Speaker 1>enough for me for this week. Thanks for listening in.

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<v Speaker 2>Thanks for listening, be sure to leave us a review

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