Out of Connection: The Social Network's Subtle Commentary on 21st Century Society

Rating: 10/10 (21 October 2014)

"You are going to go through life thinking that girls don't like you because you're a nerdthat won't be true"
The Social Network can be proclaimed a great movie for various reasons. There is the arc of Mark Zuckerberg from pitied protagonist to self-loathing antagonist. The allusions of Harvard rowing elite and final club grandeurs perfectly symbolize a begrudged, yet seemingly unreachable social class. Moreover, the simplistic irony of the man responsible for connecting millions together ending alone is unescapably intriguing. However, these explanations for the film's prominence are all but pawns for Director David Fincher's ultimate drive; a commentary on society's imbalance, with the obsession for individualized success uprooting the true bliss of companionship. Erica Albright's opening that Zuckerberg will be infinitely disliked, solely, "because (he is) an asshole," is the axis on which Fincher reasons this societal conviction. For every step in Zuckerberg's success, there is a scarf burned, cut-in- sequence to settlement hearings, and an ever growing disconnect from humanity. Fincher's process of subtly placing these intense human interactions within a movie assumingly all about a website is what creates the film's magnificence.
Fincher starts the process by drawing the audience into Zuckerberg's character. This is neither completed by belittling Albright's education nor embarrassing Harvard's female population through facesmash (though both are essential to establish his prowess and intensity). Nonetheless, it is Zuckerberg's desire and continued denial for acceptance that yearns viewers' emotions. While Zuckerberg codes the night away by balmy lit dorm room, Fincher purposely cuts to the sexual-enlightening, adventure-gratifying party at the Phoenix. This dissonance is heightened when Zuckerberg later attends Caribbean Night at AEPi, a fraternity typically linked with "nerdiness". While Zucerkberg speaks of wanting to live in the apparently rapturous prestige of final club socialites, he is stuck with dreary party mates and an irrelevant "loop of Niagara Falls," amplifying his own monotony. When Zuckerberg is, at last, approached by Harvard crew it is only to be their work horse in a venture and when eventually given access to a final club he's cut off immediately at the bike room. Consequently, as Zuckerberg initially clings for societal acceptance to feel success, the audience feels for the character.
However, as the storyline develops, a deteriorating relationship between Zuckerberg and Eduardo, fixated on the latter being punched by the Phoenix, gives way to a key shift in the audience's perception of Zuckerberg. In consecutive conversations between these characters, Fincher ends scene with Mark taking shots at Educardo; calling out ethnicity as an overwhelming factor in the final club acceptance and being frankly brute of Eduardo's ability to make the cut. These quotes epitomize a more avaricious, individually-orientated form of Zuckerberg, which continually grows. His premeditated absence from Harvard.Co appears vindictive on Zucerkerg's intent on the venture's inevitable failure and is later proved true when he states the twins are suing him because, "for the first time, the world didn't work" for them. By utilizing these moments, Fincher paints a version of Zuckerberg who is throwing down the hatchet. If he will not be accepted by the elite, if he will be used as a mere faucet for others' triumph, Zuckerberg will beat them all. Zuckerberg will not care who gets in his way nor will he settle until he is the most successful.
While this impassioned mindset may draw an audience closer to the character, it does not in the The Social Network. Fincher purposely allows Zuckerberg's drive to corrupt his sense of self in exchange for Facebook's, and inherently Zuckerberg's own, success. The entrance of Sean Parker, whom Zuckerberg sees as essential to Facebook becoming a "billion dollar" company, highlights the character shift. In following each of Sean Parker's questionable suggestions, from cussing out AD agencies to freezing Educardo's personal account, it becomes apparent Zuckerberg no longer feels the need to fit society's norm. If an action benefits Facebook, it is a go and if it does not, it needs to be stopped, bottom line. This spiral of greed summits with Eduardo's stock being diluted to near zero for Facebook to become profitable with corporate backers. In choosing millionaire status over his essential best friend, Zuckerberg has completed the final stage in becoming an antagonist. The audience no longer roots for nor is drawn towards Zuckerberg as he emotionlessly watches Parker mock Eduardo out of the headquarters. In a time when Zuckerberg should be over joyous in his gained wealth, he sits all alone staring at his business card, which reads"I'm Ceo, Bitch".
In this specific moment, Fincher has established his commentary on society. Yes, Zuckerberg has reached his goal of being successful beyond the means of those who chose not to accept him in the past. But, in doing so, he lost everyone who ever did accept him. The grandeurs of the elite, which Zuckerberg once held synonymous with an unreachable prestige, no longer hold value. Zuckerberg could buy the Phoenix club and turn it into his own "ping-pong room," but says money has become "nonexistent". Though his superficial success makes Zuckerberg more desirable than ever, he stares at Erica Albright's facebook profile waiting for her acceptance to "friendship". It is of no prevail. The man responsible for creating the world's most powerful social tool gave too much away for the creation. He is left but to watch alone as the rest of the world connects with itself.