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In “Task,” premiering Sunday on HBO, Brad Ingelsby, creator of the 2021 miniseries “Mare of Easttown,” which introduced the wider world to Wawa and the Delco accent, returns with another tale of crime and family in the rural-suburban wilds west of Philadelphia. Where women were at the center of “Mare,” men are the subject here — a cop and a criminal, symmetrically arranged — messed-up middle-aged single fathers who care about their kids.

Both have been loaded with tragedy. Robbie (Tom Pelphrey), whose wife took off a year before, has a much-missed dead brother in whose house he’s living with his two kids and young adult niece (Emilia Jones as Maeve, a secret hero); he’s a garbage collector with a sideline in robbing drug houses, which he identifies through their trash. This routine has been successful enough that he and his partner, fellow trashman Cliff (Raúl Castillo), have drawn the attention of the authorities.

FBI agent Tom (Mark Ruffalo) has a dead wife (Mireille Enos, seen briefly in flashback), a son in jail he can’t bring himself to visit and a semi-estranged adult daughter (Phoebe Fox); on leave from field work, he’s been manning the agency table at job fairs. That changes when his boss (Martha Plimpton), much to his displeasure, calls him back as a substitute to lead a task force into the drug house robberies, already assembled by his predecessor from other branches of law enforcement. There’s Lizzie (Alison Oliver), young and distractable; Aleah (Thuso Mbedu), terse and focused; and Anthony (Fabien Frankel), loose and Italian.

It’s clear from the guns that both sides pack, and the fact that Robbie has been stealing from criminals — notably a drug-dealing motorcycle gang, the Dark Hearts, which has its own explosive internal business — that something is going to go fatally wrong sooner or later. (If that’s a spoiler, you are blessed with a special brand of naivete.) The bikers, who are not at all nice, though painted with some recognizably human qualities — represented primarily by Jamie McShane as Perry and Sam Keeley as Jayson — are the usual screen collection of exclusively good-looking men and women, though to be fair, this is true of Tom’s team too — Tom perhaps excepted. (Ruffalo put on weight for the role, and wants you to notice.)

In “Task,” Robbie (Tom Pelphrey) is a single father who steals from other criminals.

(Peter Kramer / HBO)

Indeed, the predominant experience of watching “Task” is waiting for the next terrible thing to happen, which may be called suspense or dramatic tension, but in the event makes for an often depressing watch, especially since the safety (physical, psychological) of young children is involved. (That can feel a little cheap, dramaturgically, like endangering a kitten, but it works.) One is grateful for anything relatively ordinary — Lizzie and Anthony dancing in a bar, Tom’s younger daughter, Emily (Silvia Dionicio) connecting with a co-worker at the custard ice stand. (Another item for the regional reference bucket.)

In the compare-and-contrast structure of the series, we learn that Robbie, though he is a fount of bad decisions, is the more optimistic, proactive of the two characters — he has a dream, in the form of a brochure, regarding a Canadian island, where he would like to spirit his family away. (He’s doing the crime to afford it.) He’s interested enough in finding “a life companion” to open a dating app. Tom, who had been a priest for eight years before losing the spirit and joining the FBI, still in mourning for his wife, drinks too much, is packing a paunch and can’t connect with Emily, the only family member left in the house.

Both have connections to nature. Tom, who grows vegetables, is a birdwatcher; Robbie keeps chickens. Both are essentially tenderhearted, which is perhaps not the most practical quality for their professions, but necessary for the story — we need to like them. They’re like one and a half sides of the same coin.

In among the criminal antics and police work is a lot of talk about life and death and God, guilt and forgiveness. Ingelsby thinks big. The title to one episode, “Out Beyond Ideas of Wrongdoing and Rightdoing There Is a River,” paraphrases the 13th century Persian poet Rumi, and water is a motif — diving into it, swimming in it, hanging around by it. Birds, too, which show up in random shots and, like the lakes and rivers, function as a sort of psychic relief for the viewer and metaphors for the story. When Tom, speaking to Robbie, identifies a certain bird as a “vagrant … a bird that strayed outside its normal range, strayed so far that it’s forgotten how to find its way home,” that is not really about birds. The writing can be a little on the nose, but better a violent story with ideas than one with none.

For all my reservations when it comes to this sort of drama, it’s very well made and very well acted, and, where many crime stories settle for sensational nihilism, “Task” does want to leave you feeling … pretty good. Not horrible. Hopeful. I trust that hasn’t spoiled it for you.

“Mountainhead,” a satirical skewering of tech oligarchs from “Succession” showrunner Jesse Armstrong, arrived this weekend, dropping on the final day of this year’s Emmy eligibility window.

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. While we’re pondering the timeline to upload a human consciousness, let’s consider “Mountainhead” and its Emmy chances.

Another year, another late-breaking HBO movie

Early on in “Mountainhead,” tech bro and Elon Musk stand-in Venis Parish (Cory Michael Smith) uses film history to put the glitches of his company’s latest AI rollout into perspective.

“The first time people saw a movie, everybody ran screaming because they thought they were gonna get hit by a train,” Venis relates, shouting out the Lumiere brothers’ 1895 film, “Arrival of a Train at La Ciotat Station.” “The answer to that was not stop the movies. The answer was: Show more movies. We’re gonna show users as much s— as possible, until everyone realizes nothing’s that f— serious. Nothing means anything, and everything’s funny and cool.”

In the meantime, though, Venis’ social media platform has given users the tools to create deepfakes so realistic they can’t be identified as bogus. Immediately, people all over the world are uploading videos of their enemies committing atrocities, inflaming centuries-old animosities. Reality has collapsed and, with it, global stability.

But for “Mountainhead’s” quartet of tech magnates, played by Smith, Steve Carell, Ramy Youssef and Jason Schwartzman, everything is just fine. As venture capitalist Randall Garrett (Carell) notes, “We have plenty of calories stockpiled. Western countries have strategic commodity reserves, canola oil, lard, frozen orange juice.”

Later, Randall asks: “Are we the Bolsheviks of a new techno world order that starts tonight?”

“Mountainhead” is in many ways scarier than the zombie apocalypse of “The Last of Us” because it feels like its premise is lurking right around the corner. Armstrong came up with the idea for the two-hour movie in November, after immersing himself in podcasts and books about Silicon Valley. He shot it in March, edited it in April and delivered it in May. It captures the DOGE era, specifically in the casual cruelty expressed by its entitled characters.

“Do you believe in other people?” Venis asks Randall. “Eight billion people as real as us?”

Randall’s reply: “Well, obviously not.”

Cory Michael Smith, left, and Steve Carell in “Mountainhead.”

(Macall Polay / HBO)

“Mountainhead” aspires more directly to comedy, but because we don’t have a history with these four deplorable men, it’s often difficult to find the humor. “Like ‘Fountainhead’ Mountainhead?” Youssef jokes to Schwartzman about the estate’s title. “Was your interior decorator Ayn Bland?” There’s a procession of put-downs like that. When they’re not roasting each other, they’re trying to boost their own agendas — in the case of the cancer-stricken Randall, it’s the quest to live forever as a disembodied consciousness.

For all its Shakespearean drama, “Succession” was wildly entertaining, more of a comedy than, yes, “The Bear.” Kendall Roy performing the rap “L to the OG” at a party honoring his father’s half-century running Waystar Royco will be the funniest two minutes of television probably forever. But half the fun came from the characters’ reactions to this transcendent moment of cringe. We were deeply invested in this world.

For all their money and power, the “Mountainhead” moguls are, like the Roy children in “Succession,” not serious people. But beyond that, “Mountainhead” doesn’t have much of anything novel to say about its subjects. As good as Smith is at channeling Musk’s alien, empathy-deficient otherness, you can come away with the same level of insight — and entertainment — by spending a few minutes watching Mike Myers on “Saturday Night Live.” I don’t need to watch a movie to know that a guy sitting on a gold toilet isn’t prioritizing anyone’s interests but his own.

“Mountainhead,” as mentioned, arrives on the last day of 2024-25 Emmy eligibility, less by design than from necessity. The paint’s still wet on this film. But this does mark the third straight season that HBO has dropped a TV movie right before the deadline. Last year, it was “The Great Lillian Hall,” starring Jessica Lange as fading Broadway legend. Two years ago, it was the excellent whistleblower thriller “Reality,” featuring a star turn from Sydney Sweeney. Both movies were blanked at the Emmys, though Kathy Bates did manage a Screen Actors Guild Awards nod for “Lillian Hall.”

Did the movies land too late for enough people see them? Perhaps. The late arrival time should mean they’d be fresh in voters’ minds when they fill out their ballots. But you have to be aware of them for that to happen.

Awareness shouldn’t be an issue with “Mountainhead.” Enough people will want to watch the new offering from the creator of “Succession,” and there’s not much else on television vying for attention right now. “Mountainhead” should score a nomination for television movie, even with the category being stronger than usual this year with audience favorites “Rebel Ridge,” the latest “Bridget Jones” movie and Scott Derrickson’s enjoyable, genre-bending “The Gorge” competing.

But actors in these TV movies are at competitive disadvantage as the Emmys lump them together with their counterparts in limited series, performers who are onscreen for a much longer time. This decade, only two TV movie actors have been nominated — Hugh Jackman (“Bad Education”) and Daniel Radcliffe (“Weird: The Al Yankovic Story”). The lead actress category, meanwhile, has been completely dominated by limited series.

Not that there are any women starring in “Mountainhead” because … tech bros. As for the men, Carell, Schwartzman, Smith and Youssef are very good at conveying delusional arrogance. I despised each and every one of their characters. If hate-voting were a thing, they’d all be nominated.