The tech backlash is now in theaters

The recent releases of The Social Reckoning, You Can See Everything, Musk, and Artificial showcase a growing trend among filmmakers to critically engage with the influence of Big Tech.

While narratives centered around transformative technology entrepreneurs are not a new phenomenon, 2026 has seen an influx of films that scrutinize the profound impact Silicon Valley leaders are having on society. Aaron Sorkin's The Social Reckoning positions Mark Zuckerberg as a detached antagonist, whose relentless pursuit of success is portrayed as a threat to societal stability. Nathan Fielder and Lance Oppenheim's You Can See Everything delivers a stark portrayal of Elizabeth Holmes, the founder of Theranos, as she faces the consequences of her actions while incarcerated. Additionally, Alex Gibney's documentary titled Musk reveals a marked shift in how public perception of Elon Musk has evolved over time. Luca Guadagnino's Artificial, while framed as dark comedy, serves as a character exploration, depicting Sam Altman in a morally dubious light.

Despite various levels of dramatization, these films are grounded in extensive critical journalism that has uncovered troubling aspects of their subjects' behaviors. The filmmakers appear motivated to craft narratives that resonate with audiences who are increasingly skeptical of Big Tech's role in contemporary life. This shift signals a broader acceptance within Hollywood that the backlash against the tech industry is persistent and noteworthy.

In contrast to earlier works like The Social Network, the current wave of films portraying conflicts within Silicon Valley is notably less sympathetic to their protagonists. David Fincher's 2010 film, depicting Zuckerberg as a complex yet misunderstood figure, differs substantially from the portrayal in The Social Reckoning, which suggests that Zuckerberg's fixation on expansion presents a critical challenge to democratic principles. This film leverages the whistleblower Frances Haugen's allegations to emphasize Zuckerberg's transformation from an ambitious entrepreneur to an executive exerting substantial autocratic influence over a vast social media empire.

Although The Social Reckoning may lack some immediate relevance—given that Haugen's warnings began circulating in 2021—it compensates for this by deftly linking Facebook/Meta's past corporate choices to ongoing societal issues. The film's exploration of Instagram's adverse effects on adolescent mental health and the connection between Facebook's algorithms and misinformation distribution resonates with current concerns regarding Meta's pervasive influence. Similarly, Gibney's documentary on Musk not only traces the history of the xAI and SpaceX leader but also interrogates the factors that allowed him to amass significant governmental power globally.

Musk's reactions to Gibney’s film have been revealing. The platform X has prohibited promotion of the documentary, and Musk, who champions "free speech," has threatened legal action against Gibney, branding it a "hit piece." While it is not unexpected for Musk to criticize a portrayal he perceives as negative, it is notable that advertisements for Musk were initially absent from prominent social media channels, such as YouTube, Facebook, Instagram, and TikTok.

Despite eventual reversals by Meta's subsidiaries and YouTube regarding their advertising decisions, TikTok has maintained its position, which is intriguing considering its connections to figures in the Trump administration through David Ellison, the CEO of Skydance Corporation. Notably, Ellison, a supporter of Trump, was part of the group that acquired TikTok's U.S. operations last year, and he has reportedly assured Gibney that Musk will be available on HBO (now under Skydance) come January. Currently, the film is being showcased in select theaters, although it has encountered significant external challenges leading up to its premiere.

Similarly, Guadagnino's Artificial encountered unexpected hurdles in its promotional campaign after Amazon withdrew its commitment to distribute the film, shortly after announcing a substantial investment in OpenAI. This development suggests that studios financially linked to AI initiatives might be hesitant to support films that critique the architects of such technology. As Artificial commences its screenings and audiences grasp its critical stance towards Altman, the implications of Amazon's decision could drive viewers to seek it out in theaters when it officially releases on December 25th, especially with OpenAI's impending IPO enhancing the relevance of the film's themes.

What differentiates Fielder's You Can See Everything from these other recent tech films is its intimate exploration of its subject's life. The documentary was produced following Holmes's sentencing to over 11 years in prison, and Fielder utilizes his access to pose probing questions regarding her conviction that she did not mislead Theranos investors. By residing with Holmes and her partner, William Evans, prior to her incarceration, Fielder integrates himself into the narrative, leaving audiences to ponder the authenticity of Holmes's alleged desire for transparency.

This central conflict transforms You Can See Everything into a captivating experience, encouraging viewers to contemplate the power dynamics at play in documentary filmmaking. Throughout the film, Fielder grapples with the possibility that Holmes is leveraging him as part of a public relations strategy, inviting the audience to draw their own conclusions.

Throughout the film, Fielder prompts viewers to engage critically with Holmes's self-presentation on screen, urging them to reconcile her public persona with the portrayals seen in news media or in Hulu's The Dropout. The question of whether Holmes is a savvy performer attempting to sway public perception influences the film’s entire arc, rendering You Can See Everything a genuinely thorough investigation into one of Silicon Valley’s most notorious personalities.

Despite some of these films underperforming at the box office, they signify a significant cultural shift in public attitudes towards modern technology and its power brokers. For years, Hollywood has tended to romanticize tech founders. However, there appears to be a growing recognition within parts of the industry that necessitates a more critical lens. As we navigate the repercussions of events like Musk's influence over DOGE and OpenAI's aspirations to integrate generative AI across various sectors, the demand for films of this nature may continue to rise. With tech founders relentlessly pursuing monopolization of emerging technological frontiers, the entertainment industry will likely have ample material to inspire future narratives.