The Clare Spark Blog

April 16, 2011

The Social Network hatchet job

Filed under: Uncategorized — clarelspark @ 6:07 pm
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opening scene from The Social Network

At first I was interested in seeing how far the screenplay diverged from the facts of Mark Zuckerberg’s life, but as I thought about it, the more sinister significance of the David Fincher/Aaron Sorkin movie was its adherence to a pattern that I have analyzed elsewhere on this blog: https://clarespark.com/2010/05/20/criminal-minds-and-the-pathology-of-rural-america/. As Aaron Sorkin reportedly said, he was not interested in the truth of Facebook’s origins, but in creating a “metaphor.” That metaphor is not only the subject of this blog, but of many other items on this website, particularly those that criticize the nailing of technology and of technical workers who are held to be responsible for mass death—unless they are spiritualized through religion or some other influence that turns them away from their “obsession” and towards a cohesive “community.”

If you have never availed yourself of Facebook as a tool to counter the dominant mass media and academic lines that simply mimic the talking points of the Democratic Party, then you may well be persuaded by the movie that Facebook is mainly of interest to horny young men searching for “hot” girls. Perhaps the script tells us more about its creators than it does about the varied uses to which Facebook is directed. And the irony is that Mark Zuckerberg himself (according to his biography on Wikipedia) is probably a liberal himself. [Added 4-21-11: And a big Obama supporter, who agrees with Obama’s tax policies and has vowed, along with Bill Gates and Warren Buffett, to give away half of his wealth.] But I am arguing here that MZ is not the target, but rather the busting up of the left-liberal monopoly of public speech in America. (And as an added treat, it is never dangerous to scorn a nouveau riche, horny Jewish swindler.)

Hence the strategy of the film, conscious or not, is to nail MZ as a self-absorbed narcissist, easily swayed by luxury (as offered by Sean Parker) and casual sex, while faithless to his true supporter, Eduardo Saverin. (Note that he remains obsessed by the girl friend who dumps him in the very first scene, and, with all his billions, he is isolated from the world, connecting only to his computer.) The last spoken words describe him as an “asshole” twice, by a sympathetic young female lawyer.

I did a Wikipedia search on all the major figures in the making of this film, and no one knows how many shares MZ’s faithful but betrayed friend Eduardo Saverin holds in Facebook, for the settlement agreement is sealed. Which brings me to another point. This film has been recognized by the Hollywood “community” as a great movie; indeed it is a well-made, even brilliant effort until you think about it. One could argue that it is a technical tour de force.

When will a modicum of ethics settle upon the world of filmmaking? How dare liberals present real people and events while  disclaiming any connection to “the truth?”

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