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The tech backlash is now in theaters

科技反弹现已进入影院。

Between The Social Reckoning, You Can See Everything, Musk, and Artificial, filmmakers are taking Big Tech to task.

从《社会清算》（The Social Reckoning）、《你可以看到一切》（You Can See Everything）、《马斯克》（Musk）到《人工智能》（Artificial），电影制作人们正在对大型科技公司进行问责。

Though movies about disruptive tech founders are nothing new, 2026 has been unusually stacked with features that take a much more critical look at how Silicon Valley is reshaping our reality. Aaron Sorkin’s The Social Reckoning frames Mark Zuckerberg as a robotic villain whose ambitions are destabilizing society. Nathan Fielder and Lance Oppenheim’s You Can See Everything paints a damning picture of Theranos founder Elizabeth Holmes as she prepares for her ongoing stint in prison. After years of being widely celebrated as a visionary, you can see how the larger narrative around Elon Musk has shifted in projects like Alex Gibney’s Musk documentary. And while Luca Guadagnino’s Artificial is a dark comedy, it is also a character study that makes Sam Altman look like a manipulative sociopath.

尽管关于颠覆性科技创始人的电影并不新鲜，但 2026 年却异常集中地涌现出了一批影片，它们以更加批判的视角审视硅谷如何重塑我们的现实。阿伦·索尔金（Aaron Sorkin）的《社会清算》将马克·扎克伯格刻画成一个野心正在破坏社会稳定的机器人式反派。内森·菲尔德（Nathan Fielder）和兰斯·奥本海姆（Lance Oppenheim）的《你可以看到一切》则描绘了 Theranos 创始人伊丽莎白·霍姆斯（Elizabeth Holmes）在准备入狱服刑期间令人愤慨的形象。在多年被广泛赞誉为远见卓识者之后，你可以看到围绕埃隆·马斯克（Elon Musk）的宏大叙事在亚历克斯·吉布尼（Alex Gibney）的马斯克纪录片等项目中发生了怎样的转变。虽然卢卡·瓜达尼诺（Luca Guadagnino）的《人工智能》是一部黑色喜剧，但它也是一部将萨姆·奥特曼（Sam Altman）描绘成操纵型反社会人格者的角色研究作品。

Even though some of these movies are fictionalized dramas, each of them draws from the wealth of critical reporting that has revealed their subjects to be less-than-savory characters. You get the sense that these filmmakers are trying to tell stories that are meant to resonate with audiences whose views of Big Tech have long since begun to dim. But it also feels like some of Hollywood’s biggest studios are finally embracing the idea that the tech backlash isn’t letting up anytime soon.

尽管其中一些电影是虚构的戏剧，但每一部都借鉴了大量批判性报道，这些报道揭示了片中人物并不光彩的一面。你会感觉到，这些电影制作人试图讲述的故事旨在与那些对大型科技公司看法早已转淡的观众产生共鸣。但这也让人感觉到，好莱坞的一些大型制片厂终于接受了这样一个事实：科技反弹在短期内不会减弱。

Especially when you compare them to classics like The Social Network, the latest wave of cinematic dramas based on Silicon Valley power struggles has been far less sympathetic to their central figures. David Fincher’s 2010 film starring Jesse Eisenberg presented Zuckerberg as a complicated and misunderstood savant, but The Social Reckoning builds its story around the idea that the Facebook / Meta head is a man whose obsession with growth poses an existential threat to democracy. By focusing on the allegations leveled by whistleblower Frances Haugen, the movie is able to highlight Zuckerberg’s public transformation into a powerful executive who wields autocratic control over a multibillion-dollar social media empire.

特别是当你将它们与《社交网络》（The Social Network）等经典作品进行比较时，会发现最近这波基于硅谷权力斗争的电影戏剧对核心人物的同情心要少得多。大卫·芬奇（David Fincher）2010 年由杰西·艾森伯格（Jesse Eisenberg）主演的电影将扎克伯格呈现为一个复杂且被误解的天才，但《社会清算》的故事核心则是：这位 Facebook/Meta 的掌门人是一个对增长的痴迷已对民主构成生存威胁的人。通过聚焦举报人弗朗西丝·豪根（Frances Haugen）提出的指控，该片得以突显扎克伯格在公众面前的转变——他已成为一个对价值数十亿美元的社交媒体帝国行使独裁控制权的强权高管。

What The Social Reckoning lacks in timeliness (The Wall Street Journal began reporting Haugen’s warnings in 2021) and stylistic flair, it makes up for in the way it connects Facebook / Meta’s past internal decisions to events that are still playing out in real time. The movie’s scenes that dig into Instagram’s negative impacts on teens’ mental health and the relationship between Facebook’s algorithm and the spread of misinformation feel as if they’re speaking directly to present-day concerns about how much influence Meta has over people’s lives. Similarly, Gibney’s Musk documentary acts as both a chronicle of the xAI / SpaceX head’s past and an inquiry into why the public was ever willing to let Musk底层.

《社会清算》虽然在时效性（《华尔街日报》早在 2021 年就开始报道豪根的警告）和风格化表现上有所欠缺，但它通过将 Facebook/Meta 过去的内部决策与当下仍在发生的事件联系起来，弥补了这些不足。影片中深入探讨 Instagram 对青少年心理健康负面影响的场景，以及 Facebook 算法与虚假信息传播之间关系的片段，仿佛在直接回应人们对 Meta 在多大程度上影响人们生活的当代担忧。同样，吉布尼的马斯克纪录片既是对这位 xAI/SpaceX 掌门人过去的记录，也是对公众为何曾经愿意让马斯克掌握如此大权力的探究。

Musk’s response to Gibney’s film has been telling. X has blocked the feature from being advertised on the platform, and Musk — a self-proclaimed “free speech absolutist” — has threatened to take legal action against Gibney for producing a “hit piece.” It wasn’t entirely surprising to see Musk personally badmouthing a project that casts him in a negative light, but it was curious to see the Musk ads initially missing from other social media platforms, including YouTube, Facebook, Instagram, and TikTok.

马斯克对吉布尼电影的反应耐人寻味。X 平台已禁止该片在平台上投放广告，而自称“言论自由绝对主义者”的马斯克则威胁要对制作“抹黑文章”的吉布尼采取法律行动。看到马斯克亲自诋毁一部将他置于负面形象的影片并不完全令人惊讶，但令人好奇的是，马斯克的广告最初在包括 YouTube、Facebook、Instagram 和 TikTok 在内的其他社交媒体平台上也消失了。

Though the Meta subsidiaries and YouTube ultimately reversed their decisions, TikTok has stuck to its guns — which feels notable given the company’s indirect connections to the Trump administration by way of Skydance Corporation CEO David Ellison. David’s father — Oracle cofounder Larry Ellison — is a longtime Donald Trump supporter and one of the American billionaires who led the consortium of investors that purchased TikTok’s US business late last year. Ellison has reportedly promised Gibney that Musk will air on HBO (now a part of Skydance) sometime next January. The film is currently screening in select theaters, but it is hard to argue that it hasn’t had to deal with an unusual amount of outside interference in the weeks leading up to its release.

尽管 Meta 的子公司和 YouTube 最终撤回了他们的决定，但 TikTok 却坚持己见——考虑到该公司通过天空之舞传媒（Skydance Corporation）首席执行官大卫·埃里森（David Ellison）与特朗普政府存在的间接联系，这一点值得注意。大卫的父亲——甲骨文（Oracle）联合创始人拉里·埃里森（Larry Ellison）是唐纳德·特朗普的长期支持者，也是去年底牵头收购 TikTok 美国业务的投资者财团成员之一。据报道，埃里森已向吉布尼承诺，《马斯克》将于明年一月的某个时间在 HBO（现为天空之舞的一部分）播出。该片目前正在部分影院上映，但很难否认它在上映前的几周里不得不应对异常多的外部干扰。

Guadagnino’s Artificial — which was originally going to be released by Amazon — also faced unexpected marketing challenges this year. The streaming giant backed out of its deal to distribute the film this past June, just months after announcing that it was investing $50 billion in OpenAI. All of that made it seem very much like Amazon and other studios financially involved with AI companies might be cooling on the idea of releasing projects critical of the technology’s creators. Now that Artificial has begun screening and people have a sense of how it takes Altman to task, it’s easy to see why Amazon didn’t want to have its name attached. More than anything else, that decision may be what convinces people to see Artificial in theaters when it releases widely on December 25th, and OpenAI’s impending IPO could make the movie’s messages about Altman feel that much more relevant.

瓜达尼诺的《人工智能》——最初计划由亚马逊发行——今年也面临了意想不到的营销挑战。这家流媒体巨头在宣布向 OpenAI 投资 500 亿美元仅几个月后，于今年六月退出了该片的发行协议。这一切让人觉得，亚马逊和其他与人工智能公司有财务往来的制片厂似乎对发行批评该技术创造者的项目失去了兴趣。现在《人工智能》已经开始上映，人们也了解了它是如何对奥特曼进行问责的，不难看出为什么亚马逊不想让自己的名字与该片挂钩。最重要的是，这一决定可能正是促使人们在 12 月 25 日该片大规模上映时去影院观看的原因，而 OpenAI 即将进行的首次公开募股（IPO）可能会让电影中关于奥特曼的信息显得更加切题。

What sets Fielder’s You Can See Everything apart from each of these other recent tech films is how direct a view it gives you into the actual life of its subject. The documentary’s production began well after Holmes had already been sentenced to more than 11 years in prison, and

菲尔德的《你可以看到一切》与其他近期科技电影的不同之处在于，它让你能够如此直接地观察到其拍摄对象真实的生活。这部纪录片的制作始于霍姆斯被判处超过 11 年监禁之后，并且