At the first critical dramatic pivot moment of J.C. Chandor’s solid Margin Call, Zachary Quinto’s Eric stares at his computer screen, carefully removing his earbuds, as the camera slowly cranes downward. The technique demonstrates that Eric has encountered urgent, potentially catastrophic information about the investment bank he is near-anonymously employed at. We never see what Eric sees; instead, the camera – and the audience – occupy the space of the computer itself, as if the information Eric sees should be projected directly on our imaginations. This technique is common amongst recent critically-acclaimed films that use information, math, data, code and the like as major elements in their plots; the information itself, implicitly meaningless and insignificant on its own to mass audiences who likely don’t possess the expertise of characters (or, for that matter, the filmmakers) is only made fleetingly available, if seen at all. Instead, traditional dramatic techniques illustrate the dramatic affect of the information. Films like Margin Call, Moneyball, and The Social Network balance reliable, empathetic experts (i.e., endearing nerds) with naïve everypersons or conventional narrative devices in order to demonstrate the importance of information, largely without exhibiting information itself. This is an interesting yet surprisingly conservative approach to information-grounded films released in the middle of the ostensible Information Age. Rather than paint a democratized landscape of data, these films posit that information is privileged almost exclusively to the intelligent and the young, and then these films contort themselves to speak to audiences outside specialized fields of expertise.