The tech backlash hits the big screen.
While films about tech moguls aren’t a new phenomenon, 2026 has seen a surge of features that critically examine how Silicon Valley is altering our world. In Aaron Sorkin’s *The Social Reckoning*, Mark Zuckerberg is portrayed as a robotic antagonist whose ambitions threaten societal stability. Nathan Fielder and Lance Oppenheim’s *You Can See Everything* offers a scathing look at Elizabeth Holmes, the founder of Theranos, as she faces her prison sentence. The narrative surrounding Elon Musk has also shifted, as seen in Alex Gibney’s documentary, which questions how he amassed such power. Luca Guadagnino’s *Artificial* blends dark comedy with a character study, depicting Sam Altman as a manipulative figure.
Even though some of these films are dramatized, they draw heavily from critical reporting that has painted their subjects in a less-than-flattering light. It seems these filmmakers aim to resonate with audiences whose views on Big Tech have soured. This shift suggests that major studios are finally acknowledging the ongoing tech backlash.
Compared to classics like *The Social Network*, the latest wave of films about Silicon Valley power struggles is notably less sympathetic to their protagonists. David Fincher’s 2010 film presented Zuckerberg as a complex, misunderstood genius, while *The Social Reckoning* frames him as a man whose relentless pursuit of growth poses a threat to democracy. By focusing on whistleblower Frances Haugen’s allegations, the film highlights Zuckerberg’s evolution into a powerful executive with autocratic control over a massive social media empire.
Although *The Social Reckoning* may lack timeliness—given that Haugen’s warnings were first reported in 2021—it effectively connects Facebook/Meta’s past decisions to ongoing real-world events. The film’s exploration of Instagram’s detrimental effects on teen mental health and the role of Facebook’s algorithm in spreading misinformation speaks directly to current concerns about Meta’s influence. Similarly, Gibney’s documentary on Musk serves as both a retrospective on his past and an investigation into why the public allowed him to gain such extensive power.
Musk’s reaction to Gibney’s film has been revealing. X has blocked the film’s promotion on its platform, and Musk, who claims to be a “free speech absolutist,” has threatened legal action against Gibney for creating a “hit piece.” While it’s not surprising to see Musk criticize a project that portrays him negatively, it is curious that his ads were initially absent from other social media platforms like YouTube, Facebook, Instagram, and TikTok.
Although Meta and YouTube eventually reversed their decisions, TikTok has remained steadfast, which is noteworthy given its indirect ties to the Trump administration through Skydance Corporation CEO David Ellison. Ellison’s father, Oracle cofounder Larry Ellison, is a long-time Trump supporter and part of the consortium that acquired TikTok’s U.S. operations. Reports suggest that Ellison has assured Gibney that Musk’s documentary will air on HBO (now part of Skydance) next January. The film is currently showing in select theaters, but it has faced unusual external pressures leading up to its release.
Guadagnino’s *Artificial*, initially set for release by Amazon, also encountered unexpected marketing hurdles this year. The streaming giant withdrew from its distribution deal in June, shortly after announcing a $50 billion investment in OpenAI. This move suggests that Amazon and other studios financially tied to AI companies may be hesitant to release projects critical of the technology’s creators. Now that *Artificial* is screening and audiences are beginning to grasp its critique of Altman, it’s clear why Amazon opted to distance itself. This decision might even drive more viewers to theaters when the film widely releases on December 25th, especially with OpenAI’s upcoming IPO making its themes about Altman even more pertinent.
What distinguishes Fielder’s *You Can See Everything* from other recent tech films is its intimate portrayal of its subject. The documentary began production after Holmes had already been sentenced to over 11 years in prison, and Fielder uses his access to question her about her belief that she didn’t defraud Theranos investors. Living with Holmes and her partner in a rental home before her sentence, Fielder becomes a character who grapples with whether their desire for radical transparency is genuine.
This central tension makes *You Can See Everything* a compelling watch, prompting viewers to consider who truly controls the narrative. Throughout the film, Fielder questions whether Holmes is using him as part of her PR strategy, leaving the audience to form their own conclusions.
Fielder seems to encourage viewers to listen closely to how Holmes presents herself on camera and reconcile that with the public image shaped by news coverage and other portrayals, like Hulu’s *The Dropout*. Whether Holmes is merely a committed performer trying to sway public opinion influences every moment of the film, making *You Can See Everything* a deep and honest exploration of one of Silicon Valley’s most notorious figures.
Despite some of these films struggling at the box office, their existence signals a broader cultural shift in how society views modern technology and its architects. Hollywood has long romanticized and ridiculed tech founders, but parts of the industry are now adopting a more critical perspective. As we continue to navigate the repercussions of figures like Elon Musk and OpenAI’s ambitions to integrate generative AI into our lives, audience interest in such films may grow. With tech founders racing to dominate the next frontier, the entertainment industry will likely have no shortage of material to draw from.
