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DID YOU READ

The (Homo)Social Network

The (Homo)Social Network (photo)

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Women in “The Social Network” are “less prizes than they are props,” writes Rebecca Davis O’Brien at The Daily Beast, “buxom extras literally bussed in to fill the roles of doting groupies, vengeful sluts, or dumpy, feminist killjoys.” “What are we to do with a great film that makes women look so awful?” she asks, going on to target the film’s portrayal of Asian women and its “shots that linger on women’s bodies.” Tracy Clark-Flory at Salon claims that “Ultimately, the question becomes whether the film’s sexism is intentional and, if so, whether it accurately reflects reality.”

Does “The Social Network” have a problem with women? I wouldn’t say so, but its characters sure do. Are women underrepresented in the film? Sure. It’s a story about guys! Desperate, socially inept guys. It’s a cinematic sausage fest. Of the different arguments being floated on this topic, the one that I find the most troubling is voiced by O’Brien’s sarcastic “who wants a brilliant movie marred by some obligatory ‘strong lady’ type-casting?” Who wants a movie marred by obligatory casting of any sort?

The suggestion that Aaron Sorkin and David Fincher had an obligation to insert a token “strong lady” character in order to make their film more demographically friendly or underline how their own intentions are separate from their characters is condescending to audiences. The film world still leans incredibly toward male perspectives, male characters and male audiences, and the way to fix that is by supporting and encouraging women making and working in movies, not by implying the need for an artificial quota of “go girl”ness.

09212010_socialnetwork2.jpgWe don’t see women involved in the running of Facebook because we hardly see the company once it has actually become one, with an office and a more gender equitable mix of staffers, much less when it got around to hiring Sheryl Sandberg as COO in 2008. The film’s about Facebook’s dorm room origin story, not a treatise on the tech world at large. It’s about the gap between the pursuit of success and the pursuit of happiness.

We don’t see women around much in general in the film because our main characters have no idea how to meet or pursue or talk to them. The smart, grounded girl the film starts out with — Rooney Mara’s Erica Albright — walks out on the asshole she’s been dating after he simultaneously ignores and talks down to her. It’s an affirming moment, but we don’t go with her, because it’s the asshole that “The Social Network” is about.

Mark Zuckerberg, or at least the Mark Zuckerberg of the movie, embodied by Jesse Eisenberg, finds the seeds of his company in the type of obscurely vengeful thought we’ve all found consolation in at one time or another — “You’ll be sorry when I’m famous/dead/beautiful/successful/rich!” What’s tragic about Zuckerberg is that even as he builds the company that will become a part of the lives of half a billion people, that will make him the world’s youngest billionaire, he’s still just a closed-off workaholic who has trouble relating to people, and his ex isn’t going to come crawling back because of his achievements.

Zuckerberg starts the film off wanting to distinguish himself, beyond getting into Harvard — he wants to get into a final club “because they’re exclusive,” and, as an afterthought, “they’re fun and they lead to a better life.” He wants the trappings of success because he thinks, like membership in a final club, they somehow lead to love and happiness, but he doesn’t care about money and the people who seek him and Eduardo out because of Facebook’s rise are, unsurprisingly, parasitic and unstable — like Brenda Song’s Christy character, certainly, but also like Justin Timberlake’s Sean Parker, the dot-com rock star who’s all hot air.

10052010_socialnetwork4.jpg“The Social Network” doesn’t present a world in which women are all “gold-diggers, drunken floozies and that ‘bitch’ who got away,” it presents one in which those are pretty much the handful that cross the paths of our main characters, who do everything possible to meet girls except actually go out and meet them. That ridiculous party that’s juxtaposed with Mark’s assembling of Facemash.com isn’t meant to be a feasible depiction of what life in the final clubs is like — the members order in kegs of beer and kegs of ladies. It stands for everything Mark thinks he’s missing out on, the debaucherous good time the elite are surely having while he sits at home stewing in his own self-loathing. What would he even do if he was invited? He’d just sit in the corner with his laptop.

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Hacked In

Funny or Die Is Taking Over

FOD TV comes to IFC every Saturday night.

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We’ve been fans of Funny or Die since we first met The Landlord. That enduring love makes it more than logical, then, that IFC is totally cool with FOD hijacking the airwaves every Saturday night. Yes, that’s happening.

The appropriately titled FOD TV looks like something pulled from public access television in the nineties. Like lo-fi broken-antenna reception and warped VHS tapes. Equal parts WTF and UHF.

Get ready for characters including The Shirtless Painter, Long-Haired Businessmen, and Pigeon Man. They’re aptly named, but for a better sense of what’s in store, here’s a taste of ASMR with Kelly Whispers:

Watch FOD TV every Saturday night during IFC’s regularly scheduled movies.

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Wicked Good

See More Evil

Stan Against Evil Season 1 is on Hulu.

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Okay, so you missed the entire first season of Stan Against Evil. There’s no shame in that, per se. But here’s the thing: Season 2 is just around the corner and you don’t want to lag behind. After all, Season 1 had some critical character development, not to mention countless plot twists, and a breathless finale cliffhanger that’s been begging for resolution since last fall. It also had this:

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The good news is that you can catch up right now on Hulu. Phew. But if you aren’t streaming yet, here’s a basic primer…

Willards Mill Is Evil

Stan spent his whole career as sheriff oblivious to the fact that his town has a nasty curse. Mostly because his recently-deceased wife was secretly killing demons and keeping Stan alive.

Demons Really Want To Kill Stan

The curse on Willards Mill stipulates that damned souls must hunt and kill each and every town sheriff, or “constable.” Oh, and these demons are shockingly creative.

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They Also Want To Kill Evie

Why? Because Evie’s a sheriff too, and the curse on Willard’s Mill doesn’t have a “one at a time” clause. Bummer, Evie.

Stan and Evie Must Work Together

Beating the curse will take two, baby, but that’s easier said than done because Stan doesn’t always seem to give a damn. Damn!

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Beware of Goats

It goes without saying for anyone who’s seen the show: If you know that ancient evil wants to kill you, be wary of anything that has cloven feet.

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Season 2 Is Lurking

Scary new things are slouching towards Willards Mill. An impending darkness descending on Stan, Evie and their cohort – eviler evil, more demony demons, and whatnot. And if Stan wants to survive, he’ll have to get even Stanlier.

Stan Against Evil Season 1 is now streaming right now on Hulu.

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SO EXCITED!!!

Reminders that the ’90s were a thing

"The Place We Live" is available for a Jessie Spano-level binge on Comedy Crib.

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Unless you stopped paying attention to the world at large in 1989, you are of course aware that the ’90s are having their pop cultural second coming. Nobody is more acutely aware of this than Dara Katz and Betsy Kenney, two comedians who met doing improv comedy and have just made their Comedy Crib debut with the hilarious ’90s TV throwback series, The Place We Live.

IFC: How would you describe “The Place We Live” to a fancy network executive you just met in an elevator?

Dara: It’s everything you loved–or loved to hate—from Melrose Place and 90210 but condensed to five minutes, funny (on purpose) and totally absurd.

IFC: How would you describe “The Place We Live” to a drunk friend of a friend you met in a bar?

Betsy: “Hey Todd, why don’t you have a sip of water. Also, I think you’ll love The Place We Live because everyone has issues…just like you, Todd.”

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IFC: When you were living through the ’90s, did you think it was television’s golden age or the pop culture apocalypse?


Betsy: I wasn’t sure I knew what it was, I just knew I loved it!


Dara: Same. Was just happy that my parents let me watch. But looking back, the ’90s honored The Teen. And for that, it’s the golden age of pop culture. 

IFC: Which ’90s shows did you mine for the series, and why?

Betsy: Melrose and 90210 for the most part. If you watch an episode of either of those shows you’ll see they’re a comedic gold mine. In one single episode, they cover serious crimes, drug problems, sex and working in a law firm and/or gallery, all while being young, hot and skinny.


Dara: And almost any series we were watching in the ’90s, Full House, Saved By the Bell, My So Called Life has very similar themes, archetypes and really stupid-intense drama. We took from a lot of places. 

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IFC: How would you describe each of the show’s characters in terms of their ’90s TV stereotype?

Dara: Autumn (Sunita Mani) is the femme fatale. Robin (Dara Katz) is the book worm (because she wears glasses). Candace (Betsy Kenney) is Corey’s twin and gives great advice and has really great hair. Corey (Casey Jost) is the boy next door/popular guy. Candace and Corey’s parents decided to live in a car so the gang can live in their house. 
Lee (Jonathan Braylock) is the jock.

IFC: Why do you think the world is ready for this series?

Dara: Because everyone’s feeling major ’90s nostalgia right now, and this is that, on steroids while also being a totally new, silly thing.

Delight in the whole season of The Place We Live right now on IFC’s Comedy Crib. It’ll take you back in all the right ways.