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Silicon Valley (2014)
8.5/10on IMDb
First aired
Richard's compression work attracts attention before he has much idea how to run a company around it. Silicon Valley turns that mismatch into arguments about funding, ownership, product decisions and whose expertise counts. The technical achievement can be real inside the story while the organisation remains chaotic. Start here for the comedy of a promising prototype repeatedly encountering people who have already decided what it should become.
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Betas (2013)
6.9/10on IMDb
First aired
The team behind a social app needs users, money and a convincing account of why anybody should care. Betas keeps those requirements close to the awkward relationships between four people trying to launch together. It is a smaller, scrappier comedy than the large-company cautionary dramas. Pick it for early-stage uncertainty, when a meeting can sound like progress even though the difficult work of making the venture function is still waiting.
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How to Make It in America (2010)
7.9/10on IMDb
First aired
Ben and Cam's attempt to launch a clothing label makes contacts, samples and the next usable opportunity feel consequential. How to Make It in America has a restless New York rhythm, with a business assembled through friendships as much as formal expertise. Choose it for a venture whose next obstacle is tangible and immediate. The appeal is the effort of turning a shared ambition into something another person can actually buy.
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Girlboss (2017)
7.0/10on IMDb
First aired
Sophia discovers that selling vintage clothes online can become more than a way to get through the month. Girlboss makes the jump from taste and improvisation to a working business messy, with the founder's difficult personality part of the problem. It is a loosely fictionalised story with a brash comic tone. Pick it for the moment when being good at spotting an opportunity stops being enough to manage all the work it creates.
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Start-Up (2020)
8.0/10on IMDb
First aired
The 2020 Korean Start-Up brings aspiring founders into an incubator where technical ability, presentation and confidence do not arrive in the same person. Team roles and competing ambitions give the business setting a useful source of friction. Romance occupies a substantial share of the series, so choose it for an emotional ensemble rather than a technical account of company formation. The strongest connection is the need to turn individual potential into a workable group.
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StartUp (2016)
7.8/10on IMDb
First aired
A banker, a programmer and a man seeking a legitimate route out of crime have different reasons to back the same technology venture. The 2016 American StartUp makes those incompatible stakes the engine of a crime thriller. The business cannot simply separate its product from the money and relationships that made it possible. Choose it for the dangerous version of an improvised partnership, with violence and criminal pressure rather than light entrepreneurial comedy.
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WeCrashed (2022)
7.3/10on IMDb
First aired
WeWork's expansion turns a coworking idea into an enormous promise about how people should live and work. WeCrashed makes charisma powerful enough to build momentum while leaving awkward questions about the underlying organisation unresolved. This is a dramatisation, with Adam and Rebekah Neumann's relationship central to the telling. Pick it for the gap between a founder's ability to make a room believe and a company's ability to sustain the belief.
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The Dropout (2022)
7.5/10on IMDb
First aired
Elizabeth Holmes has an ambition and a persuasive account of the future; building a functioning company asks a different set of questions. The Dropout follows the widening distance between Theranos's promises and what can be substantiated. The reason to choose it here is how an early refusal to acknowledge a limit becomes harder to reverse as more people invest their identities in the story. It is a cautionary drama, not a success blueprint.
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Super Pumped: The Battle for Uber (2022)
7.3/10on IMDb
First aired
Super Pumped: The Battle for Uber examines a startup culture in which expansion becomes a justification for almost any decision. Founders, investors and employees do not want exactly the same company, even when they are temporarily rewarded for behaving as though they do. Choose the dramatisation for the argument over who gets to set the terms once rapid growth starts answering every objection. Its energy is abrasive and its central ambition is far from innocent.
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The Playlist (2022)
7.4/10on IMDb
First aired
The Playlist revisits Spotify's emergence through different participants, making the same venture look different to an engineer, a lawyer, an executive or an artist. That structure is particularly useful when a founder's version of progress starts sounding too complete. This is a fictionalised Swedish drama, not a documentary account in every detail. Pick it for the friction between building a service, licensing what it needs and deciding who benefits from the result.
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