‘Move fast, break stuff’: how tech bros became Hollywood’s go-to baddie in 2025

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From Stanley Tucci’s imperious tech titan to Lex Luthor’s distractingly hot CEO and Elon Musk-esque blowhards, films this year took us inside the billionaire mindset Between the slash-and-burn US government reboot led by a dank meme fan and the relentless pushing of AI by venture capital-backed blowhards, 2025 has felt like peak obnoxious tech bro. Fittingly, jargon-spouting, self-regarding digital visionaries also became Hollywood’s go-to baddies this year in everything from blockbusters to slapstick spoofs. Spare a thought for the overworked props departments tasked with mocking up fake Forbes magazine covers heralding yet another smirking white guy as “Master of the Metaverse” or whatever. With such market saturation, the risk is that all these delusional dudes blend into one smarmy morass. It felt reasonable to expect that Stanley Tucci might sprinkle a little prosciutto on The Electric State , Netflix’s no-expense-spared alt-history robot fantasia. As Ethan Skate – creator of t...
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The Virgin Suicides review – Sofia Coppola’s debut rereleased with solemn trigger-warning

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Sunlit suburban calm masks the shocking nature of the story itself: a horrendous tragedy in the guise of a teenage coming-of-age movie

Nearly a quarter of a century ago, Sofia Coppola made her feature directing debut with this adaptation of the literary sensation of its day: Jeffrey Eugenides’s novel about five teen sisters in 70s suburban Michigan who take their own lives. Now it is rereleased with a solemn trigger-warning disclaimer at the beginning about certain historic attitudes which might now cause offence; these are unspecified, but appears to mean the entire premise of the film, up there in the title, but which is treated more circumspectly nowadays in the context of new ideas around self-harm and “suicidal ideation”.

This was a movie which mystified as many as it entranced, and it would be honest of me to admit that I didn’t quite understand it back in 2000, and maybe don’t quite now. But I can perhaps appreciate with more clarity its artistry and poise and the confident way Coppola allows her film to be serenely mysterious and almost affectless in its sunlit suburban calm, a reticence which appears to mask the shocking nature of the story itself: a horrendous tragedy in the guise of a teenage coming-of-age movie.

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