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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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The beggar used to be friendly – now he was ranting at everyone

What was I doing, dismissing him with maximal curtness – and not caring?

The first beggar was walking but still wretched. Probably in his early twenties, clearly ravaged by more than just alcohol, he made a beeline for me, as if he had an appointment. He was not to know that I was in a mood from hell, though the look on my face would have told him, if he’d been in any kind of state to register it.

“Excuse me, have you got 10p for…”

“No.” And I walked on.

Why? I am almost invariably a soft touch for this kind of thing. But as I said, I was in the foulest of tempers.

Also, this was East Finchley. For those who do not know London, East Finchley is a northern suburb, which at one end hosts the wealthiest street in the country – the Bishops Avenue, where multimillionaires tear down houses and erect new ones even uglier than those they have replaced – and at the other end a typically seedy, dull collection of terraced houses.

The main supermarket is Budgens, a name so ungainly that it could only have belonged to a real person, either too proud or unimaginative to think of something else.

But what, I asked myself, was someone this wretched doing in East Finchley? And what was I doing, dismissing him with maximal curtness – and not caring?

The second beggar, further up the street, I met the next day: much older and clearly mad, rather than chemically poisoned. He asked how I was doing.

“Not so well, as it happens,” I replied.

“Would you like me to say a prayer for you?”

“Why not?” I said, and he placed a clenched fist to my forehead and made a brief incantation, something like an exorcism, and then kissed the large white plastic crucifix hanging from his neck.

I half-expected to feel a jolt of faith, some kind of divine restructuring. This time I gave him money: a pound coin and a 50p coin. But then later I thought: why didn’t I give him more? I’d been doing some tidying earlier and had retrieved a heavy pocketful of change; I could have given him a generous handful.

The third beggar was in Shepherd’s Bush. I knew him from the days when I lived there: a skinny, middle-aged guy who would occasionally stop and rant in a friendly way at me, just sane enough not to ignore. That was ten years ago. Now he was raging at everyone, accusing the teenagers queueing in the kebab shop of being batty boys and saying “bloodclaat” a lot. (Batty boy: homosexual. Bloodclaat: tampon.)

The people he was addressing knew perfectly well what he was saying. They shrugged it off. I got on the bus; so did he, and the whole bus knew about it. There was nothing friendly in him now, and I wondered through which hole in the increasingly threadbare welfare safety net he had been allowed to slip.

That’s it, I thought. I’m getting out of London, its pampered core oblivious to the surrounding anguish. The world in a nutshell. Luckily, my great friend S— had asked if I could cat-sit for her in Brighton. I know her cat, and I know Brighton. Also, I know about a dozen people there who I keep meaning to see, so why not? London was making me ill, and possibly a bad person. So S— invited me down a couple of days before she was due to go on her holidays, and I took the first train I could.

And now I find myself sitting on a sunlounger in a tiny backyard, in a charming house just abutting the North Laine, and the mood is palpably different to the capital’s. It is like a city ought to be: compact, diverse and funky. There is no reek of High Capitalism. It is healthily decadent. It would appear to be full of people who have rejected the idea of London. It still has an enormous number of beggars, but more people were dropping money for them than I ever saw do so in W1, W12 or N2.

So this is what it’s like to fall out of love with the city of one’s birth. What most surprised me was the speed and force with which it happened. I’d made my mind up over a nice lunch that my friend N— was buying me, to cheer me up.

“Don’t you have to stay in London? You know, for book launches and things like that?”

“I don’t go to fucking book launches any more,” I said. I was taken aback by the vigour of my reply. I’m only here for ten days but I have plenty of people to see and dozens of memories, all good, to bump into. I’m already feeling better. 

Nicholas Lezard is a literary critic for the Guardian and also writes for the Independent. He writes the Down and Out in London column for the New Statesman.

This article first appeared in the 14 September 2017 issue of the New Statesman, The German problem