Jessie Armstrong isn’t done skewering the rich and powerful.

The creator of the acclaimed HBO series “Succession,” a satire inspired by the Murdoch family and its media empire that ran for four seasons, is back on the premium cable network (and its streaming offshoot, Max) Saturday with the TV film “Mountainhead,” which he penned and directed.

For all the praise lavished on it, we most often found “Succession” frustrating. Much of the point was to enjoy the schemings — and subsequent failings — of the various vapid and ever-bickering members of the fictional Roy family. However, the hourlong format brought with it too much time for the viewer to wallow in all the Roys’ misery and the insults they flung at each other. Contrast that with the 30-minute comedy series “Veep,” which also ran on HBO and gave the viewer a fast-paced and smartly written slice of insult-based humor each week. (There’s plenty of connective tissue between the series, as Armstrong worked with the creator of “Veep,” Armando Iannucci, on the British series “The Thick of It” and its excellent 2009 big-screen offshoot, “In the Loop.”)

“Mountainhead” succeeds where “Succession” struggled.

Funny and thought-provoking, the clever film sees four friends — a quartet of tech titans — getting together for a poker weekend in the new mountain retreat one of them had constructed in a snowy and entirely picturesque chunk of Utah. Hugo (Jason Schwartzman) is hosting Randall (Steve Carell), Venus (Cory Michael Smith) and Jeff (Ramy Youssef), who call him “Souper” — short for “Soup Kitchen” — because while they are worth billions, he’s good for only about $500 million and some change.

The weekend is to involve “no meals” — the men will really rough it with cold cuts and the like — and “no deals” — this is not a time for business to be done.

Here’s the thing, though: Ven’s social platform, Traam, has just released a massive update with new content-creation and messaging upgrades, and the deepfake videos and rapid spreading of misinformation that those upgrades make easy for users is leading to unrest and violence around the globe. It would really smooth things over with his company’s board if he could acquire the strong AI-driven content-moderation tech developed by Jeff’s company.

Ooooh, it’s too bad Ven said something rotten about Jeff on a podcast, isn’t it?

As with “Succession,” Armstrong isn’t interested in giving us any heroes. Here, Jeff comes the closest, seeming to have genuine concern for the digital plague brought on by Traam — even as Jeff’s company suddenly is doing very well, now that the value of rooting out the fake from the authentic is being greatly appreciated.

Ven isn’t sure how to feel about what’s happening — heck, he isn’t even sure other people are real — but he largely sticks to the idea that this development will be good for his company in the long run, that after a learning curve, the majority of Traam’s four billion-plus users will realize that “nothing means anything and everything’s funny and cool.”

While Jeff brainstorms ideas about how best to mitigate the crisis, Randall seeks avenues to capitalize on it. He sees ways for the four of them to leverage it for even more wealth and power, the little folk be damned. More importantly, he believes Ven’s continued success could facilitate the latter’s goal of developing tech that would allow for the digital uploading of a human consciousness. (Randall has his reasons.)

And then there’s Souper, who, at least initially, is just happy to have the boys over to his fancy new digs, voicing excitement over the space turning into the “intellectual salon” he’d envisioned as the possibility of a new world order is chewed on by the others.

Armstrong excels in writing absurd musings for lackluster humans, and they hit at an impressive clip in “Mountainhead.”

“Not real,” Ven says when another shows him footage of violence on a smartphone. “Heads don’t explode like that.”

Armstrong and the endeavor’s casting folks have assembled an appealing foursome, each actor bringing something to the increasingly high-stakes affair.

The standouts are the veteran Carell (“The Office,” “Foxcatcher”), who somehow makes Randall at least a little likable even as the character is giving in to his most despicable instincts, and Smith, who impressed as Chevy Chase in last year’s “Saturday Night.” Here, again, Smith commands attention as the spiraling Ven holds court.

That said, Schwartzman (“Asteroid City”) delivers as the subtly ridiculous Souper, and Youssef (“Ramy”) hits the mark with his insults aimed at the former’s expensive, personality-lacking expensive new digs and referring to Randall, whom he sees as a mentor, as “Dark-Money Gandalf.”

Given what transpires in the second half of “Mountainhead,” this greed-is-good tale easily could have gone off the rails but Armstrong leads it to a satisfying destination.

“Mountainhead” is only so ambitious, but, ultimately, this satire hits home; what is happening to the world around these men and their reactions to it feel only so far-fetched.

Armstrong seems to be saying we should be worried about powerful people like these four tech bros — but, perhaps, only so worried. Ven seems to think Traam may be able to make a difference in the conflict between Israel and Palestine with the right funny video, and Jeff pokes at Randall as the latter mishandles his phone while plotting the takeover of the world.

“Hey, Grandpa,” he says, “your light’s on.”