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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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Scottish Labour's defeat to the Tories confirms a political transformation

The defining divide is no longer between left and right but between unionist and nationalist.

It was Scotland where Labour's recovery was supposed to begin. Jeremy Corbyn's allies predicted that his brand of left-wing, anti-austerity politics would dent the SNP's hegemony. After becoming leader, Corbyn pledged that winning north of the border would be one of his greatest priorities. 

But in the first major elections of his leadership, it has proved to be Labour's greatest failure. A result that was long thought unthinkable has come to pass: the Conservatives have finished second (winning 31 seats). For the first time since the 1910 election, Labour has finished third (winning 24). Scottish Labour leader Kezia Dugdale stood on a left-wing platform, outflanking the SNP on tax (pledging to raise the top rate to 50p and increase the basic rate by 1p), promising to spend more on public services and opposing the renewal of Trident. But rather than advancing, the party merely retreated.

Its fate confirms how Scottish politics has been realigned. The defining divide is no longer between left and right but between unionist and nationalist. With the SNP as the only major pro-independence party, the Tories, led by the pugnacious Ruth Davidson, framed themselves as the pro-UK alternative - and prospered. In contrast, Dugdale refused to rule out supporting a second referendum and suggested that MPs and MSPs would be free to campaign for secession. The result was that Scottish Labour was left looking dangerously irrelevant. "Identity politics. Labour doesn't get it," a shadow minister told me. Its socialist pitch counted for little in a country that remains ideologically closer to England than thought. The SNP has lost its majority (denying it a mandate for a second referendum) - an outcome that the electoral system was always designed to make impossible. But its rule remains unthreatened. 

Corbyn's critics will seek to pin the baleful result on him. "We turned left and followed Jeremy's politics in Scotland, which far from solving our problems, pushed us into third," a senior opponent told me. But others will contend that a still more left-wing leader, such as Neil Findlay, is needed. Dugdale is personally supportive of Trident and was critical of Corbyn before his election. Should she be displaced, the party will be forced to elect its sixth leader in less than five years. But no one is so short-sighted as to believe that one person can revive the party's fortunes. Some Corbyn critics believe that a UK-wide recovery is a precondition of recovery north of the border. At this juncture, they say, SNP defectors would look anew at the party as they contemplate the role that Scottish MPs could play in a Westminster government. But under Corbyn, having become the first opposition to lose local election seats since 1985, it is yet further from power. 

In Scotland, the question now haunting Labour is not merely how it recovers - but whether it ever can. 

George Eaton is political editor of the New Statesman.