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Laurie Penny on The Social Network: Facebook, capitalism and geek entitlement

The Social Network is an elegant psychodrama of contemporary economics.

The Machiavellian machinations of modern capitalism become a lot clearer when one realises that much of it is built, owned and run by people who couldn't get a girlfriend in college. The Social Network, David Fincher's new film about the founding of Facebook, is an elegant psychodrama of contemporary economics: flash, fast-moving and entirely founded on the principle of treating other human beings as hostile objects.

The film's basic formula is the familiar blogs-to-bling-and-bitches redemptive parable of male geek culture, with the added bonus that it happens to be based on real events. The protagonist, Facebook's co-founder Mark Zuckerberg, is a brilliant 19-year-old coder. His painful social ineptitude, as told here, gets him savagely dumped by his girlfriend, after which, drunk and misunderstood, he sets up a website to rate the physical attractiveness of the women undergraduates of Harvard, thus exacting his revenge upon the female sex that has so cruelly spurned his obvious genius.

We know by now, however, that unappreciated nerds eventually grow up to inherit or at least aggressively reappropriate the earth, and so it is for Zuckerberg: his website becomes the prototype for Facebook, a venture that will eventually make him a billionaire, mobbed by beautiful groupies and hounded by lawsuits from former friends and business associates desperate for a share of his fame and fortune. It's a fairytale happy ending, as imagined by Ayn Rand.

Objectification industry

The Social Network is an expertly crafted and exhaustively modern film, and one of its more pertinent flashpoints is the reminder that a resource that redefined the human interactions of 500 million people across the globe was germinated in an act of vengeful misogyny. Woman-hating is the background noise of this story. Aaron Sorkin's dazzlingly scripted showdown between awkward, ambitious young men desperate for wealth and respect phrases women and girls as glorified sexual extras, lovely assistants in the grand trick whose reveal is the future of human business and communication.

The only roles for women in this drama are dancing naked on tables at exclusive fraternity clubs, inspiring men to genius by spurning their carnal advances and giving appreciative blowjobs in bathroom stalls. This is no reflection on the personal moral compass of Sorkin, who is no misogynist, but who understands that in rarefied American circles of power and privilege, women are still stage-hands, and objectification is hard currency.

The territory of this modern parable is precisely objectification: not just of women, but of all consumers. In what the film's promoters describe as a "definitively American " story of entrepreneurship, Zuckerberg becomes rich because, as a social outsider, he can see the value in reappropriating the social as something that can be monetised. This is what Facebook is about, and ultimately what capitalist realism is about: life as reducible to one giant hot-or-not contest, with adverts.

And the geek shall inherit the earth

There is a certain type of nerd entitlement that is all too easily co-opted into a modern mythology of ruthless capitalist exploitation, in which the acquisition of wealth and status at all costs is phrased as a cheeky way of getting one's own back on those kids who were mean to you at school. As somebody whose only schoolfriends were my Dungeons & Dragons team, I understand all too well how every socialist and egalitarian principle can pale into insignificance compared to the overwhelming urge to show that unattainable girl or boy who spurned your dorky sixth-form advances just what they were missing.

The narrative whereby the nerdy loner makes a sack of cash and gets all the hot pussy he can handle is becoming a fundamental part of free-market folklore. It crops up in films from Transformers to Scott Pilgrim; it's the story of Bill Gates, of Steve Jobs, and now of Mark Zuckerberg. It's a story about power and about how alienation and obsessive persistence are rewarded with social, sexual and financial power.

The protagonist is invariably white and rich and always male -- Hollywood cannot countenance female nerds, other than as minor characters who transform into pliant sexbots as soon as they remove their glasses -- but these privileges are as naught compared to the injustice life has served him by making him shy, spotty and interested in Star Trek. He has been wronged, and he has every right to use his l33t skills to bend the engine of humanity to his purpose.

This logic is painful to me, as an out-and-proud nerd. For a person with a comics collection, an in-depth knowledge of the niceties of online fan fiction and a tendency to social awkwardness, it is distressing to see geekdom being annexed by the mythology of neoliberal self-actualisation.

There's far more to being a geek than maladaptive strategies that objectify other human beings as hostile obstacles who deserve to be used to serve the purpose of one's own ambition, but watching The Social Network, you wouldn't know it. For me, being a geek is about community, energy and celebration of difference -- but in the sterile fairytale of contemporary capitalism, successful geekery is about the rewards of power and the usefulness of commodifying other humans as a sum of likes, interests and saleable personal data.

The tragedy of The Social Network is also the intimate tragedy of an age whose self-alienation has nothing to do with social networking. The paranoid atomisation of modern social relations has, in fact, very little to do with the internet at all. It has everything to do with a global economic machine that trains human beings to understand one another as manipulable objects or faceless consumers. That, unfortunately, is a trend that did not start on Facebook.

Laurie Penny is a contributing editor to the New Statesman. She is the author of five books, most recently Unspeakable Things.

This article first appeared in the 04 October 2010 issue of the New Statesman, Licence to cut

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Is the French Left having its Jeremy Corbyn moment?

Benoit Hamon won the first round of the Socialist party's presidential primaries. 

Has the French Left taken a Corbynite turn? That's certainly the verdict of many after the first round of the French Socialist Party's primary.

In first place is Benoit Hamon, who quit Francois Hollande's government over its right turn in 2014, and counts the adoption of a universal basic income, the legalisation of cannabis and the right to die among his policy proposals, with 36 per cent of the vote.

In second place and facing an uphill battle to secure the nomination is Manuel Valls, the minister who more than any other symbolized the rightward lurch of Hollande's presidency, with 31 per cent. That of the five eliminated candidates - under the French system, if no candidate secures more than half of the vote, the top two go through to a run-off round - only one could even arguably be said to be closer to Valls than Hamon shows the struggle he will have to close the gap next weekend. And for a variety of reasons, even supporters of his close ally Sylvia Pinel may struggle to put a tick in his box. 

Still, Valls clearly believes that electability is his best card, and he's compared Hamon to Corbyn, who "chose to remain in opposition". Also making the Hamon-Corbyn comparison is most of the British press and several high-profile activists in the French Republican Party.

Is it merited? The differences are probably more important than the similarities: not least that Hamon served as a minister until 2014, and came up through the backrooms. In terms of the centre of gravity and the traditions of his party, he is much closer in analogue to Yvette Cooper and Andy Burnham than he is to Jeremy Corbyn, though Corbynistas and Hamonites bear a closer resemblance to one another than their leaders to.

What will give heart to the leader's office is that Hamon surged in the polls after each debate, when his ideas were given a bigger platform. But what will alarm everyone in Labour is the French Socialists' poll ratings - they are expected to get just 6 per cent in the elections. (And before you scoff at the polls, it's worth noting that they have, so far, performed admirably in the French electoral cycle, picking up on the lightning rise of both Hamon and Francois Fillon.)

That attests to something it's easy to forget in Westminster, where we tend to obsess over the United States and ignore politics on the Continent, despite the greater commonalities: throughout Europe, social democratic parties are in a fight for their lives, no matter if they turn to the left or the right.

The Democrats, in contrast, won the presidential election by close to three million votes and lost due to the electoral college. They have good prospects in the midterm elections and their greatest threat is gerrymandering and electoral malfeasance. But absent foul play, you'd have to be very, very brave to bet on them going extinct.

Stephen Bush is special correspondent at the New Statesman. His daily briefing, Morning Call, provides a quick and essential guide to British politics.