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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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Anxiety is not cool, funny or fashionable

A charitable initative to encourage sufferers to knit a Christmas jumper signalling their condition is well-intentioned but way off the mark.

The other night, I had one of those teeth-falling-out dreams. I dreamt I was on a bus, and every time it stopped one of my teeth plunked effortlessly out of my skull. “Shit,” I said to myself, in the dream, “this is like one of those teeth-falling out dreams”. Because – without getting too Inception – even in its midst, I realised this style of anxiety dream is a huge cliché.

Were my subconscious a little more creative, maybe it would’ve concocted a situation where I was on a bus (sure, bus, why not?), feeling anxious (because I nearly always feel anxious) and I’m wearing a jumper with the word “ANXIOUS” scrawled across my tits, so I can no longer hyperventilate – in private — about having made a bad impression with the woman who just served me in Tesco. What if, in this jumper, those same men who tell women to “smile, love” start telling me to relax. What if I have to start explaining panic attacks, mid-panic attack? Thanks to mental health charity Anxiety UK, this more original take on the classic teeth-falling-out dream could become a reality. Last week, they introduced an awareness-raising Christmas “anxiety” jumper.

It’s difficult to slate anyone for doing something as objectively important as tackling the stigma around mental health problems. Then again, right now, I’m struggling to think of anything more anxiety-inducing than wearing any item of clothing that advertises my anxiety. Although I’m fully prepared to accept that I’m just not badass enough to wear such a thing. As someone whose personal style is “background lesbian”, the only words I want anywhere near my chest are “north” and “face”.  

It should probably be acknowledged that the anxiety jumper isn’t actually being sold ready to wear, but as a knitting pattern. The idea being that you make your own anxiety jumper, in whichever colours you find least/most stressful. I’m not going to go on about feeling “excluded” – as a non-knitter – from this campaign. At the same time, the “anxiety jumper” demographic is almost definitely twee middle class millennials who can/will knit.

Photo: Anxiety UK

Unintentionally, I’m sure, a jumper embellished with the word “anxious” touts an utterly debilitating condition as a trend. Much like, actually, the “anxiety club” jumper that was unanimously deemed awful earlier this year. Granted, the original anxiety jumper — we now live in a world with at least two anxiety jumpers — wasn’t charitable or ostensibly well intentioned. It had a rainbow on it. Which was either an astute, ironic comment on how un-rainbow-like  anxiety is or, more likely, a poorly judged non sequitur farted into existence by a bored designer. Maybe the same one who thought up the Urban Outfitters “depression” t-shirt of 2014.

From Zayn Malik to Oprah Winfrey, a growing number of celebrities are opening up about what may seem, to someone who has never struggled with anxiety, like the trendiest disorder of the decade. Anxiety, of course, isn’t trendy; it’s just incredibly common. As someone constantly reassured by the fact that, yes, millions of other people have (real life) panic meltdowns on public transport, I could hardly argue that we shouldn’t be discussing our personal experiences of anxiety. But you have to ask whether anyone would be comfortable wearing a jumper that said “schizophrenic” or “bulimic”. Anxiety, it has to be said, has a tendency – as one of the more “socially acceptable” mental illnesses — to steal the limelight.

But I hope we carry on talking anxiety. I’m not sure Movember actually gets us talking about prostates, but it puts them out there at least. If Christmas jumpers can do the same for the range of mental health issues under the “anxiety” umbrella, then move over, Rudolph.

Eleanor Margolis is a freelance journalist, whose "Lez Miserable" column appears weekly on the New Statesman website.