The scene sets up everything we need to know about Zuckerberg: he’s a genius who aced his SATs he’s a chauvinist about gender and class (he tells Erica surely she doesn’t have to study because she goes to Boston University) and he feels like an utter outsider because he’s a Jew at Harvard (which means he’s neither tall, nor athletic, nor blond, nor “cool,” which is what he most wants to be). In the film’s first scene, he deeply offends his girlfriend, Erica Albright (Rooney Mara), by obsessing about getting into one of the “final clubs” to which the most elite (mostly male) students at Harvard belong. Mark Zuckerberg (the terrific Jesse Eisenberg) is a whiz-kid with serious social problems. The few scenes in which professors lecture are ridiculously staid and intentionally boring compared to the fast-paced thinking and scheming that happens elsewhere on campus, where Sorkin and Fincher clarify that the real benefits of a Harvard education are to be had. Simply by being at Harvard, Sorkin and director David Fincher ( Benjamin Button) imply, these guys gain entrée to a world of serious money and power that has little to do with what they’re taught in class.
#Erica albright full#
Written with terse, vivid dialogue by screenwriter Aaron Sorkin ( The West Wing) that captures the short-hand and urgency of a world of students wired to their computers searching for what Harvard President Larry Summers (Douglas Urbanski) calls in the film “the next great invention,” The Social Network captures the kind of raucous Ivy League undergrad experience in which trashed dorm rooms are full of boys drinking beer and dreaming up multimillion dollar schemes (or looking at sexy “girls” on-line). Aside from the overt ways in which it depicts college-age young women as insane, fear-inspiring shrews or as vacuous, sexualized objects, the film’s resolutely male worldview is a disturbing window into the misogyny not just of Ivy League privilege, but of the upper echelons of capitalist entrepreneurship.
The Social Network is a fantastic film that’s miserable to women. For Your Viewing Pleasure: Gender, Sexuality, and Popular Culture.Feminist Performance Festival Roundtable (2011).“Feminism, Utopia, and Performance”: The Progressives Corner (2012).Performing Que(e)ries Part IV: Holly Hughes in conversation with Jill Dolan (2013).“What Makes a Jewish Theatre Artist” (2013).Teaching and Mentoring, for Grad Students and New Faculty.“Feminist Performance Criticism and the Popular: Reviewing Wendy Wasserstein” (2008).“Colleague-Criticism: Performance, Writing, and Queer Collegiality” (2009).“On ‘Publics’: A Feminist Constellation of Keywords” (2011).“Casual Racism and Stuttering Failures: An Ethics for Classroom Engagement” (2012).“Performing Jewishness In and Out of the Classroom” (2012).“Feeling Women’s Culture: Women’s Music, Lesbian Feminism, and the Impact of Emotional Memory” (2012).
“To Teach and to Mentor: Toward Our Collective Future” (2013).
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