Silicon Valley, Ready to Laugh Again?
Over a good many years, “Silicon Valley,” the HBO show, accomplished a very rare feat: It got the elite of Silicon Valley, the place, to laugh at themselves and take themselves a little less seriously, an achievement as difficult as explaining, say, quantum computing. It’s no easy task to win over the set you’re lampooning, making the series’s tech land popularity a real testament to showrunner Mike Judge, who, beneath the gags, often presented techies as bleakly as “Veep” portrayed our nation’s politicos.
As tech has gotten zanier lately, a pressure campaign among fans has mounted for Judge to reboot his show. He has flatly refused. On Sunday evening, a new AMC show, “The Audacity,” hopes to begin occupying the cultural space Judge has given up.
The show is dark, funny and detailed, much as you’d expect from its creator, Jonathan Glatzer, a former “Succession” writer, who enjoys skewering tech mogulness as much as “Succession” delighted in aping Murdochian antics.
Where “Silicon Valley” had Pied Piper and “Succession” had Waystar Royco, “The Audacity” has Hypergnosis, a startup run by CEO Duncan Park (Billy Magnussen). He has just fumbled a sale of his startup to a bigger competitor, Cupertino (yes, really), and faces any number of consequences for it.
Duncan is someone who has thrived through ample self-confidence and a nice smile, but bless him, he’s dim, managing tries at software-is-eating-the-world grand thoughts with the delicacy of Yogi Berra. (In one heated exchange, he confuses Nostradamus and Nosferatu.) Unsurprisingly, he’s in therapy, but by the end of the pilot, he has used an all-powerful, data-guzzling AI to blackmail his counselor (Sarah Goldberg) into becoming a co-conspirator. Duncan’s domestic life is a mess, too, as he and his wife, Lili (Lucy Punch), trade emotional barrages through their pursuit of an open marriage. As these adults scamper and scheme, their children are collateral damage, warped both by their parents’ poor parenting and, of course, the tech products that underpin the prosperity around them.
“I think there are attributes to the Valley that deserve interrogation,” Glatzer said, following a screening of the show I attended earlier this week. “You know that move-fast-and-break-things mentality—a bull-in-a-china-shop metaphor—has become something positive, when in fact it’s like, ‘No, there’s gonna be a lot of broken dishes.’”
Like “Succession,” “The Audacity” has a high-gloss verisimilitude, which is part of the satire. Many of the interiors resemble an OpenAI demo video; I noticed an expensive-looking revolving door that I swear I’ve seen before in a Hillsborough mansion. To burnish the authenticity, Glatzer took as many Bay Area meetings as he could get. Mostly, he met a warm reception—with a notable exception. “Nobody from Apple would talk with me,” he recalled. “It’s probably why Cupertino is mentioned [in the show] so many times.”
While Silicon Valley is littered with the detritus of failed startups, Hollywood back lots are piled up with the remains of shows about tech and startups that never quite took off. Netflix tried one with Rob Lowe in 2023, “Unstable,” for instance, and even though it was very funny, it flopped. Likewise, the more somber “Devs” from director Alex Garland went nowhere on FX. And AMC had only limited luck getting people interested in “Halt and Catch Fire,” a tale about the 1980s PC revolution.
Glatzer hopes he has made Duncan’s graspingness recognizable enough to win over a wide audience—from within Silicon Valley and outside it, too.
“He’s a wannabe titan, and I think that gives him a desperation—a desire to climb up the rungs of the ladder—that makes him relatable,” he said. “He’s not a billionaire. We discussed this, and we estimated that he’s worth just $500 million.”