The Social Network
And now for some highly-topical, completely en vogue commentary:
I finally watched The Social Network, after months of feeling like, "do I want to watch a movie about rich white dudes and their problems? no... still no... still no... oh, okay then".
Un-shocking discovery: put together a great director with a great screenwriter and some promising actors and the result is always going to be watchable, at least. (I say this as someone who tired of Aaron Sorkin's schtick years ago. But it's undeniable that the dude can write. The first scene was basically a masterclass in introducing all your movie's themes in a single conversation.)
Apparently some people think this movie is a comedy (or comic, anyway), which is weird, because I found it an almost relentlessly bleak portrayal of modern life.
Actually, that may be the movie's genius. That you can read it in any number of different ways:
As a postmodern horror story about the digitization of personal interaction.
As an inspiring story of entrepreneurial endeavour.
As an indictment of Ivy League privilege.
As a celebration of Ivy League spirit.
As an indictment of nerd culture.
As a celebration of nerd culture.
As a portrait of misunderstood/undiagnosed Aspergers.
As a romantic friendship on the skids.
(I feel like there should be a term like "Boston marriage" for a nerdy young men in love who can't admit they're in love -- like a "Silicon Valley marriage".)
Just for the record: I do think most of the movie's misogyny was intentional, but unfortunately not quite all of it. I found Christy setting fire to Eduardo's bed to be completely gratuitous and trumped-up drama (c/f. the fallacious meme of the insane beauty). And, though I wanted to like Rashida Jones's sympathetic lawyer, I realized once the movie finished that she basically functions as Mark's mom in the narrative. (Kindly, nonsexual, tries to feed him, practically says: "you know, honey, you should just try and play nice with the other kids".)
Anyway, enough with the thinky contemplations. Now I am going to read ALL the Mark/Eduardo fix-it fic.
P.S. Nitpick: British students do not "major" in anything at university (you pick your subject before you even apply, fergawdssakes) -- one "reads" Economics or Classics or whatever. Aaron Sorkin needed a Britpicker for this movie. He could probably find one... via a social networking site... *rimshot*
I finally watched The Social Network, after months of feeling like, "do I want to watch a movie about rich white dudes and their problems? no... still no... still no... oh, okay then".
Un-shocking discovery: put together a great director with a great screenwriter and some promising actors and the result is always going to be watchable, at least. (I say this as someone who tired of Aaron Sorkin's schtick years ago. But it's undeniable that the dude can write. The first scene was basically a masterclass in introducing all your movie's themes in a single conversation.)
Apparently some people think this movie is a comedy (or comic, anyway), which is weird, because I found it an almost relentlessly bleak portrayal of modern life.
Actually, that may be the movie's genius. That you can read it in any number of different ways:
As a postmodern horror story about the digitization of personal interaction.
As an inspiring story of entrepreneurial endeavour.
As an indictment of Ivy League privilege.
As a celebration of Ivy League spirit.
As an indictment of nerd culture.
As a celebration of nerd culture.
As a portrait of misunderstood/undiagnosed Aspergers.
As a romantic friendship on the skids.
(I feel like there should be a term like "Boston marriage" for a nerdy young men in love who can't admit they're in love -- like a "Silicon Valley marriage".)
Just for the record: I do think most of the movie's misogyny was intentional, but unfortunately not quite all of it. I found Christy setting fire to Eduardo's bed to be completely gratuitous and trumped-up drama (c/f. the fallacious meme of the insane beauty). And, though I wanted to like Rashida Jones's sympathetic lawyer, I realized once the movie finished that she basically functions as Mark's mom in the narrative. (Kindly, nonsexual, tries to feed him, practically says: "you know, honey, you should just try and play nice with the other kids".)
Anyway, enough with the thinky contemplations. Now I am going to read ALL the Mark/Eduardo fix-it fic.
P.S. Nitpick: British students do not "major" in anything at university (you pick your subject before you even apply, fergawdssakes) -- one "reads" Economics or Classics or whatever. Aaron Sorkin needed a Britpicker for this movie. He could probably find one... via a social networking site... *rimshot*