PaulG at 2015-03-10 19:10:08:
Okay, here's my (fractured) break out of major plot points in terms of the chronology of events. I note the points by the page on which they occur as well as what percent of the script has elapsed. The story hits the floor running. A discussion between Mark Zuckerberg and his girlfriend Erica leads to a falling out that triggers a chain reaction of events that leads the crash of the Harvard network (page 21, 13% of the script), getting Mark in trouble with the Harvard administration. I take this to be the inciting incident because it brings his superior coding skills to the attention of Dinvya Narenda and Winklevoss twins who ask him to code their exclusive social networking site. Mark agrees (page 31, 19% of the script). But shortly thereafter (page 39, 24% of the script) Mark decides to build his own social networking site with Eduardo Saverin pitching in startup money. This I take to be the marker for the end of Act 1 because Mark takes the initiative. He takes his fate into his own hands. He makes the choice to be the main actor in his own story, not a supporting actor in the Winklevoss story. In the first half of Act 2, Mark codes the site while keeping the twins in the dark with one excuse after another. Finally, the Facebook site goes live (page 55, 34%). Mark crosses his Rubicon. There is no going back now. The Winklevoss twins react by trying-- and failing--to shut it down playing by the rules as “gentlemen of Harvard”. Reversal: Whereas in Act 1 Mark was a pariah with women, now he is a campus celebrity, has no problem attracting girls. Except for Erica. Mark approaches her (page 76, 47%) only to be rebuffed – a setback, a bump in the road of his upward social and emotional trajectory. Midpoint: Enter Sean Parker (page 83, 51%) whose influence will pivot Mark's life in a different direction and destroy his friendship with Eduardo Saverin. All Is Lost Moment: There is none in terms of Mark's objective goal. Facebook keeps growing exponentially. But the story does build to an All Is Lost Moment in terms of Mark and Eduardo’s friendship as Mark falls under the spell of Sean Parker as soon as they meet in New York City (page 98, 60%). Later, while Eduardo is hustling for advertising in New York City that summer, Sean reconnects with Mark in Palo Alto (page 118, 72%) and effectively displaces Eduardo. Meanwhile, after a bitter rowing loss on the Thames and discovering that Facebook is expanding overseas, the Winklevoss twins (finally!) get mad enough to sue Mark. (page 129, 79%). Frustrated and humiliated, Eduardo (finally!) freezes the bank account he set up for the venture (page 136, 83.4%). It’s a decisive rupture in the central relationship of the story. This is where I mark the End of Act 2. Act 3: But the best for Mark and worst for Eduardo is yet to come. Thanks to Sean’s connections, Mark gets a generous infusion of venture capital. And it seems the breach between Mark and Eduardo might be healed. But come to find out the infusion comes at Eduardo’s expense: his share of the stock is diluted to 0.03% (page 150, 92%). Eduardo storms out vowing to sue. The nails are hammered into the coffin of their relationship just as the Mark achieves another milestone: the number of Facebook members passes the one million mark. Sean Parker gets busted for using drugs and providing them to a minor (page 157, 96%) – a genuine scandal for Sean and Facebook. This is an ironic payoff to the inflated "scandal" of Eduardo “abusing" a chicken -- much ado made about very little in the litigation. Has Mark "friended" the wrong guy? Denouement: Mark achieves his objective goal. Facebook is a spectacular success and he will become the youngest billionaire in history. The script ends with a summation to the jury (the audience), by the lawyer, Marilyn, who tells him how the litigation is destined to play out. The price he has to pay for achieving his success. In the long run, it's chump change, "a speeding ticket". Bu what has been the cost to his integrity, his soul? Mark is left alone with the social network site he has built. Bookend: He finds Erica on Facebook, sends her a "friend" request.
David DePerro at 2015-03-11 03:25:12:
My thoughts on structure, as it depends on and interacts with character..... -------- ACT ONE --------- Opening Shot: This Genius Has Troubles, Inside and Out Our opening shot and scene present the main character's outer and inner problem: social marginalization (outer) and an insecure, narcissistic envy (inner). With Erica's rebuff, the movie begins with a major reversal for Mark. The reversal impels Mark to action. This is the first in a series of cases where Mark drives forward on his own after Erica rejects him. Introducing Our Sequence Structure: Action, then Decision The entire film is structurally built around this action-decision order, where the action of someone else leads to a decision by Mark: Erica's rebuffs, Eduardo's news about advancing in the club, Sean's schmoozing and cajoling. These will impel Mark to code FaceMash, expand Facebook to Columbia and Stanford, and go to California. Frame Story: Deposition Judgment Day Our first trip to the deposition room visualizes a major theme of the film, accountability. Our frame story is a post-mortem. We didn't know it was a frame story or flashback until now, so again surprise. A Fortunate Reversal: Harvard Takes Away, Then Gives FaceMash earns Mark a rebuke from Harvard authorities but an opportunity from Harvard's favorite sons. Here is the seed event that gives Mark a vehicle for his rudderless energies. As Gatekeepers to one another, Mark's rejection of the mutual pact (their first reversal) eventually makes him instead their Villain. And another reveal: The twins are suing too. Then and Now, Here and There The structure is set: we are switching between past and present, and in the present, between various depositions representing Mark's adversaries and emphasizing his solitude. Together, Let's Turn the World Inside Out Mark turns back to Eduardo: "Wardo, it’s like a Final Club except we’re the president." End of Act One: Mark and Eduardo are united in mission and purpose. -------- ACT TWO PART ONE -------- Build It And They Will Come Ask You Questions Under Oath About It Mark always attacks the outer problem, but always deflects the inner problem. In Act Two we have: -- the mechanics of building The Facebook: Mark codes a lot and needs Eduardo's money for more servers. -- the deposition sparring, or why Mark did what he did and what it all meant "Getting It On" - But "Erica Is Not Impressed" Mark and Eduardo are getting what they think they want (sex without trying). Immediately Mark faces the unattainable Erica and is reminded of his inferiority. Here is our midpoint reversal: Sexual conquest followed immediately by final rejection. -------- ACT TWO PART TWO -------- "This woman hates my guts. So we'll expand to Columbia!" Adversary Closing In: Row Your Boat, Harvard Boys The twins have accelerated their pursuit using the Harvard approach: phone calls, lawyer letters, daddy's connections. In their next major reversal, Harvard's own president ridicules their entitlement and immaturity. With the genie out of the bottle, they are already vanquished. Do we like watching them lose by a nose, when a nose is a million miles? Maybe. Sort Of Haymitch, But Evil A new character, Sean Parker, is a Mentor whose late arrival emphasizes how rudderless Mark has been. Sean Parker is every mother's worst nightmare--even his own. Call PETA and Move to Cali With three thousand miles and the matter of a chicken between them, Mark and Eduardo are moving apart. Each blames the other. The Fateful Action, the Final Decision The freezing of the account marks the depth of the chilliness. It is the fateful action of the film, and Mark's as-yet-unrevealed decision will follow ruthlessly. -------- ACT THREE -------- Ooh! A Silvery Parachute The Capitol Sponsors send Mark half a mil. Boiling Over The simmering "dance of anger" between Mark, Eduardo, and Sean dictates the structure of Act Three. Sean Parker cackles like the Emperor as Eduardo and Mark battle saber to saber. Mark's snarky narcissism and naked ambition are pitted against Eduardo's naivete and impotent rage. Siding entirely with Eduardo, we witness the marvelous climax of betrayal revealed, delicious confrontation, and ultimate frustration. But part of us wants to side with Mark: if we stood to make a billion dollars, we'd cut out the pretty boy hanger-on too. Whoa In one last reveal, the quiet pretty face at the end of the table shows herself the match of Genius Boy. Her logic is impeccable, her argument incontestable, her manner unflappable. In an instant, she achieves the unachievable. She wins Mark's respect. At the end of the movie, he friends the wrong woman.
David DePerro at 2015-03-11 04:04:59:
PaulG, I enjoyed your breakdown, which I read entirely after writing my own post below. So I was pleased to see your question, "Has Mark “friended” the wrong guy?"--because I ask a similar question, in a more speculative and perhaps risky vein. See what you think. The ironic payoff you mention (I like that term for that) contributes profoundly to the melancholy of this film. For me as a viewer, it also calls into question Marylin's express faith in Mark. It's entirely plausible that Mark needed Sean to get away from Eduardo, and once that was done, on some level counted on Sean to get rid of Sean.
Scott at 2015-03-11 04:10:04:
Excellent work, Paul and David. I'm short of time, but will come back to comment. I think you both have hit the overall trajectory of the narrative. Thanks!
PaulG at 2015-03-11 08:48:01:
David, I liked your contribution to the major plot points. Particularly the elements of framing the story in the context of the trial, the consequence, the legal mess created by Mark's actions. And Mark attacking the outer problem (symptom of the disease) while deflecting the inner problem (the disease itself). Good calls. I elected to stick with a linear chronology of the plot. About Mark's character (Why is he compelling if not likable?), his character arc (Did he ever stop deflecting and face the real problem?), Sean's role versus Eduardo's role (Who is the Mentor? The Trickster? The Ally?), Marilyn's "jury summation" much could be said. And I hope to as the week progresses. Likewise, I look forward to insights you and others have on the script.
Scott at 2015-03-11 13:14:59:
Paul and David, I love what you both have done, similar but different takes on the story's structure. Here's what I propose to do: I'd like to feature both of your takes: Paul, in the sequence post today. David, in the psychological journey post on Thursday. Since the subject of character archetypes came up in this thread, here's my take: Protagonist: Zuckerberg Nemesis: Winklevoss Twins Attractor: Erica Mentor: Eduardo Trickster: Sean Here's my logic: The Twins as Nemesis seems pretty clear as they provide opposition to Z in the lawsuit, but also as representing what Z loathes: They have privilege, they are part of the In Crowd, and they do not have the intelligence (per Z's POV) to have any claim over what he (Z) is doing with Facebook. Erica as Attractor: This is another smart choice by Sorkin (in real life, Z met his now wife Priscilla Chan as a sophomore at Harvard). Even though Erica only appears in the movie a handful of times, her 'ghost' hangs over EVERYTHING Z does in the story, hence the import of the bookend scenes involving her: The opening which sets up her rejection of him and the ending in which Z reaches out to her via Facebook. If the Attractor is a character most associated with the Protagonist's emotional life, Erica plays a special role. She is the equivalent of what Colorado represented to Charles Foster Kane. In other words, Erica = Rosebud, an 'object' the Protagonist focuses his emotional void on. The irony with Z friending Erica on Facebook while John Lennon sings "Baby, You're a Rich Man" is rich, indeed. Facebook, supposedly all about connections. Z, unable to make human connections. This point is driven home as well with the P-Mentor relationship: Z and Eduardo. If there is a chance for Z to have a genuine friendship, an actual connection, it's Eduardo. Even if his business acumen is flawed, he does provide the initial code for Facemash, seed money for Facebook, advice along the way, and is a friend. However Z chooses to REJECT his Mentor in following the path presented by Sean Parker (Trickster). Ally at first, enemy in the end, and 'destroys' Eduardo in order to get rid of that Mentor influence. Of course, all characters wear 'masks' so at times, Eduardo dons the nemesis mask, the attractor mask, the co-protagonist mask, just as the other characters do. But I think this take on the primary character archetypes is a solid one. Thanks again for your analysis. Wonderful stuff!
PaulG at 2015-03-11 14:31:35:
Scott, While I mostly agree with your analysis of the roles (and I have more to say about Sean's role as the Trickster), I see Eduardo's role differently: he is Mark's ally/friend. (A mismatched friendship, unfortunately. From the git go, Mark and Eduardo broadcast on different wavelengths.) Mark has no mentor when it comes to writing code, nor does he need one. What he needs is seed money. That's Eduardo's major contribution. Sean, for all his faults, is actually a better mentor than Eduardo ever could be. He has some savvy wisdom from his own experience with two startups and valuable connections that Mark needs. Neither of which Eduardo can provide. And yes, the irony of it all, that the guy so smart when it comes to coding the biggest social networking site is clueless about the basic code of human relationships.
David DePerro at 2015-03-11 21:55:00:
---- To Your Points ---- Very valuable replies and analysis for me, Scott and Paul. I really enjoy seeing how you break things down. For starters, Scott, you've convinced me that Sean is ultimately the Trickster. And I agree with you, Paul, that he is a better Mentor than Eduardo. So, a synthesis might be that Mentor is one of his "shapes" but not his ultimate function for Mark's journey. I'm regrettably unpersuaded that Mark is attracted to anything about Erica or that he is scared of the twins. In fact, he has contempt for Erica and wants to BE the twins. So I've gone in a completely different direction for each of their functions for Mark. Whether or not you find it persuasive, I hope you find it thought-provoking and fun to think about. Wait till you see my surprise Mentor choice! Some Definitions I had to do a little research into the definitions of these archetypes to provide my own breakdown with a logic I thought I could defend. After I paged past some hits on Scott's reasonably-priced courses on that subject :) , I found this poor-man's definition at some random site: "For example, the Nemesis as a reflection of the Protagonist’s shadow, the Attractor as a reflection of the Protagonist’s heart, the Mentor as a reflection of the Protagonist’s head, the Trickster as a reflection of the Protagonist’s will." (source: http://intheroaringtwenties.blogspot.com/2012/04/character-archetypes.html?m=1) So here are the functions I think these characters fulfill for Mark. ----- The archetypes ----- Attractor: the heart - Winklevoss twins The opening scenes vividly portray Mark's obsessive yearning to belong in the exclusive world of the Harvard elite, soon embodied in the Winklevoss twins doubling as Gatekeeper. Mark's prattling about the clubs is juxtaposed with his contempt and neglect of Erica, who I do not see as a compelling choice for Attractor. His dialog to end Act One convinces me where his heart lies, at least for the purposes of this 120-minute story: "It's like a Final Club but we're the president." Thus Mark doesn't want to use the twins, or destroy the twins--he wants to become his own version of the twins. Nemesis: the shadow - Eduardo Eduardo is the person who haunts Mark every step of the way. His Jiminy Cricket sidekick act is an unwelcome drag on Mark's ambitions. Mark is coy about his seething envy for Eduardo, whose ascent from uncool Jewish frat to the inner circle of the Phoenix drives home Mark's inadequacy. Eduardo represents an accommodation with Harvard's world and ways that proves impossible for Mark to imitate. Every reminder pushes him to manufacture an entire new world in its place. Trickster: the will - Sean Parker The chaotic and disruptive Sean Parker gives Mark permission to nuke all his previous connections and settle on himself as the sole creator of Facebook, seen in the adjusted masthead. Thus Sean is an expression of Mark's will: his ambition and his desire to control his relationships rather than enjoy them in mutuality. Mentor: the mind - rejected candidates Mark, in the strange pattern of many American young men, seeks a mentor in his pretty girlfriend. Erica is both unprepared--and unworthy--to play that role with him. As we open, he unburdens himself to her but gets nothing of what he needs from her. At the midpoint again he seeks her admiration and approval, to no avail. Sean shape-shifts into Mentor role, expanding Mark's vision as to the outer problem of his social marginalization and how to solve it by creating Facebook. But Sean only worsens Mark's inner problem. Eduardo is chiefly a rival. Those don't make good Mentors. In the end, Mark's inner thoughts and hidden counsel are utterly impervious to the influence of every character except one. Marylin, Monster Mentor In the biggest twist and thrill of the drama, overlooked Marylin teaches Mark who he really is when no one else can: the ranting Erica, rival Eduardo, numbskull twins, and pandering, exploitative Sean. Marylin speaks her final assessment to Mark with a penetrating wisdom and authority that Mark immediately accepts. It is then that he displaces his own understanding of the entire situation (his mind) with hers -- and his own will with a final decision to settle that relies completely on her judgment of his best interests. If only Luke Skywalker obeyed his mentors so quickly and humbly. Or Anakin! Marylin also renders the final judgment of both the twins and Eduardo, those putative Nemeses: a speed bump. Conversely, her calm proves her to be the only character impervious to Mark's infuriating superiority, and contrasts to her twin Erica's ineffective ranting. Erica, Reconsidered Mark returns his thoughts to Erica anyway, as only after his journey can she become the Attractor. Maybe he really does want to be friends this time. But the attraction is not mutual. Poor guy ... will he ever get it right? His heart has tricked him again, and again he starts off after the wrong goal. Thus Erica becomes the new Nemesis haunting him in his own mind, his face bathed in blue-white light, waiting for the connection that will never come. Finally, some thoughts on Mark as Protagonist. Really, something of a rant, Erica-style. ---- Whither Kitty? ---- Mark is a remarkably unlikable protagonist. This distorts the functions of all the archetypes in his journey. Is their function to help him reach his own craven goals? We hope not. Is there a Save the Cat moment for Mark? Is there even a Kick the Dog moment from which he can be redeemed (see "As Good As It Gets")? Is there anyone in this movie who is likeable? The more I analyze this script, the more I dislike these characters (while still liking the movie). Is this a hero's journey or a cautionary tale--like, well, any courtroom procedural? Oh, and I said Mark wasn't likable--not that he's not relatable. If the Nemesis is shadow, Mentor mind, Attractor heart, then what is the Protagonist to himself? I theorize: the seat of consciousness--my own chosen term for the "function" of the protagonist to himself. I'm looking forward to further exploration of Mark's function in his own journey!
David DePerro at 2015-03-13 05:42:18:
Thank you, Paul. I appreciate your mentioning specific things that might have been helpful or interesting. I've also read your thoughtful posts carefully and riffed on some of your musings and questions both below and in Part 4, Psychological Journey.
PaulG at 2015-03-13 19:38:52:
David DePerro, I appreciate that you've done your homework on Aristotle. I think his Poetics stands the test of time. We may not see eye to eye on some points, but that's okay: I always learn something from the ensuing dialectic.