Facebook-filmen

Jeg så Facebookfilmen og likte den ikke.

Jeff Jarvis sier det bedre:

There’s no “why” there. That’s the problem with The Social Network. It neither explains nor even ascribes motives to Mark Zuckerberg—no vision, no strategy, no goals.

For The Social Network, geeks and entrepreneurs are as mysterious and frightening as witches. Its writer, Aaron Sorkin, admits as much in New York Magazine. “He says unapologetically that he knows almost nothing about the 2010 iteration of Facebook, adding that his interest in computer-aided communication goes only as far as emailing his friends.”

The Social Network understands obnoxious old-money (the cartoon-colored, Zuckerberg-suing Winklevoss twins), obnoxious new-money (Sean Parker, though David Kirkpatrick says in Vanity Fair that he is “both more complex and more interesting”), and the pretentious intellectual (a fantasy of Harvard’s then-President, Larry Summers). And it thinks it understands victims (Facebook cofounder and former Zuckerberg friend Eduardo Saverin). I met Saverin once, in a panel put on by an ad network, which Saverin patronized on Facebook’s behalf and which served just the kinds of tacky ads Zuckerberg didn’t want for his company because he knew the value of cool and he had a much bigger vision than Saverin had. That’s likely why Saverin had to go; whether The Social Network knows it or not, it makes that clear.

The Social Network doesn’t understand entrepreneurs and geeks, or at least not the one here. So it turns him into an other. It makes him weird. It portrays Zuckerberg as—let’s be blunt—Aspergery: blinkless, humorless, heartless.


The Social Network is the anti-geek movie. It is the story that those who resist the change society is undergoing want to see. It says the internet is not a revolution but only the creation of a few odd, machine-men, the boys we didn’t like in college. The Social Network is the revenge on the revenge of the nerds.

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