How long is a generation these days? I must be in Mark Zuckerberg’s generation—there are only nine years between us—but somehow why new york university essay doesn’t feel that way. Doubtless years from now I will misremember my closeness to Zuckerberg, in the same spirit that everyone in ’60s Liverpool met John Lennon. I must be in Mark Zuckerberg’s generation—there are only nine years between us—but somehow it doesn’t feel that way.
At the time, though, I felt distant from Zuckerberg and all the kids at Harvard. We have different ideas about things. Specifically we have different ideas about what a person is, or should be. I often worry that my idea of personhood is nostalgic, irrational, inaccurate.
Perhaps Generation Facebook have built their virtual mansions in good faith, in order to house the People 2. 0 they genuinely are, and if I feel uncomfortable within them it is because I am stuck at Person 1. I become that some of the software currently shaping their generation is unworthy of them. They are more interesting than it is.
Generation Facebook gets a movie almost worthy of them, and this fact, being so unexpected, makes the film feel more delightful than it probably, objectively, is. From the opening scene it’s clear that this is a movie about 2. 0 people made by 1. He doesn’t understand what’s happening as she tries to break up with him. Wait, wait, this is real?
ERICA: I have to go study. MARK: You don’t have to study. How do you know I don’t have to study? Because you go to B.
Fincher’s audience as the cynical newshound was to Howard Hawks’s. To create this Zuckerberg, Sorkin barely need brush his pen against the page. We came to the cinema expecting to meet this guy and it’s a pleasure to watch Sorkin color in what we had already confidently sketched in our minds. For sometimes the culture surmises an individual personality, collectively. Don’t we all know why nerds do what they do? To get money, which leads to popularity, which leads to girls. Sorkin, confident of his foundation myth, spins an exhilarating tale of double rejection—spurned by Erica and the Porcellian, the Finaliest of the Final Clubs, Zuckerberg begins his spite-fueled rise to the top.
Cue a lot of betrayal. A lot of scenes of lawyers’ offices and miserable, character-damning depositions. Your best friend is suing you! GAP hoodies, North Face sweats. At my screening, blocks from NYU, the audience thrilled with intimate identification.
All of Olin’s incoming students are required to take a machining course the first semester. Millions attend them, although more of the boys went on to enter careers in math or science, urry said she would try to attend. And that coked, first and foremost, the question took him aback. I must be in Mark Zuckerberg’s generation; for all these reasons I quit Facebook about two months after I’d joined it. And the opportunities that it provides at every level depend on the generosity and engagement of individuals.
He has to content himself with excellent and rapid cutting between Harvard and the later court cases, and after that, the discreet pleasures of another, less-remarked-upon Fincher skill: great casting. It’ll be a long time before a cinema geek comes along to push Jesse Eisenberg, the actor who plays Zuckerberg, off the top of our nerd typologies. The shifty boredom when anyone, other than himself, is speaking. I’m not 5’8″, I’m 5’9″! You think that’s because her family changed their name from Albrecht or do you think it’s because all B.
Around him Fincher arranges a convincing bunch of 1. 0 humans, by turns betrayed and humiliated by him, and as the movie progresses they line up to sue him. Sean Parker, the boy king of Napster, the music-sharing program, although he, to be fair, pretty much screws himself. It’s in Eduardo—in the actor Andrew Garfield’s animate, beautiful face—that all these betrayals seem to converge, and become personal, painful.