the wake of ‘Halt and Catch Fire’

Moviegoers who are drawn to stories of work drama and their clashing egos will probably want to see Super Pumped: The Battle for Uber (2022), with which Brian Koppelman and David Levienwriters of curves (1998), Swear (2003) or Ocean 13 (2007), chronicle for Showtime the trajectory of the controversial mobility company that taxi drivers half the world hate.

The kind of intrigue about the whereabouts of successful tech companies remind us those of The social network (2010) Is Stop and catch fire (2014-2017), pero los guiones carecen del ingenio del escrito por Aaron Sorkin para la película de David Fincher sur Facebook y la fortaleza emocional de los firmados por Christopher Cantwell y C. Rogers para su serie sobre el Joe MacMillan de Lee Pace y company.

With an energetic visual style and supposedly powerful verbiage, Brian Koppelman and David Levien seek to tackle propositions like the two mentioned, but their own. do not you can rub shoulders with these referents. And not because this couple didn’t do a good job in Billions (since 2016) to captivate the viewer with the resounding words of its protagonists. But here they don’t succeed, and that’s it.

‘Super Pumped: The Battle for Uber’ entertains but doesn’t make us fall in love

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There are a few flashes of eloquence indisputable from time to time, but it is not the habit of super pumped during the first seven chapters. And Joseph Gordon-Levitt tries hard enough to play Travis Kalanick’s asshole, but the scripts he’s provided don’t help him rank to the same degree of charisma as Jesse Eisenberg’s Mark Zuckerberg or the aforementioned Joe MacMillan. .

However, Brian Koppelman and David Levien’s series achieves two things: first, be interested in clashes in which Uber must find its way to stay afloat as an innovative company; and on the other hand, that one stands with its founder and against his powerful adversaries even if he ultimately turns out to be a very unpleasant guy.

Because the authors of Super Pumped: The Battle for Uber They know how to sell us their story like that of those who fight for technological progress against the usual reactionary forces; the same as the Luddites of the 19th century, who tried to make tapioca as many mechanical looms as they could get their hands on, or the owners of carriage and stagecoach companies by railroad or automobile, because they went against their usufruct.

And Brian Koppelman and David Levien aren’t joking, but getting straight talk about it out of Travis Kalanick’s mouth, and then we find enough patter that we buy it no questions asked. But super pumped does not stop there, and jumps to mercantile and internal confrontations, a less attractive concept due to the more inconsistent oratory, but which entertains.

In the end, we do not regret having devoted our time to it.

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Snappy edits to lighten up long processes aren’t surprising but we’re pleased, along with the occasional use of graphics and video games and breaking the fourth wall. Yet the real visual and narrative achievement of this Showtime series, a simple detail, is the fictions of Travis Kalanick by Joseph Gordon-Levitt that end in chroma green and the immediate recognition of reality.