“He who, blinded by ambition, raises himself to a position whence he cannot mount higher, must thereafter fall with the greatest loss.”
– Niccolò Machiavelli
Mr. Zuckerberg, do I have your full attention?”
David Fincher’s film The Social Network delves into the origins of Facebook and the intricate interplay of power, ambition, and ethics. Through an exploration of Mark Zuckerberg’s ascent to becoming the youngest self-made tech billionaire of the (post)modern era, let us look to the perspectives of Stephen Hicks critiques on power dynamics along with Niccolò Machiavelli’s view on authority and finally to Immanuel Kant’s moral principles. Through these differing points of view on power, Fincher’s film may enlighten us to the profound philosophical themes hidden within this modern masterpiece.
“If you guys were the inventors of Facebook, you’d have invented Facebook.”
In his work Explaining Postmodernism Stephen Hicks challenges the view of power as a force in human relationships. This notion is evident in The Social Network where the narrative portrays Facebook’s inception as a struggle for control not in business but on a personal level. Zuckerberg’s actions reflect Hick’s observation that postmodernists view power as pervasive and all-encompassing, ie. as viewed by someone like Michel Foucault.
Zuckerberg’s drive to establish a networking platform contrasts with his insecurities and validation seeking tendencies. His betrayals of friends like Eduardo Saverin highlight the belief that power dynamics are inherent in interactions often resulting in manipulation and discord. Hick’s criticism of this viewpoint emphasizes how the quest for power can twist relationships and moral considerations, a major theme in the film.
“I think if your clients want to sit on my shoulders and call themselves tall, they have the right to give it a try.”
Niccolò Machiavelli’s work The Prince provides timeless insights into the sometimes-ruthless pursuit of power. Machiavelli suggests that the ends can justify the means and rulers should be ready to act when needed to accomplish their objectives. He believed virtue was not some sense of morality. He believed virtue was one’s capacity for success or the thing within one’s power of control. He also believed in fortune or the things outside of one’s control. All of Machiavelli’s principles on strategy involves maximizing the things one can control and mitigating that which is outside of one’s control. The journey of Zuckerberg in The Social Network, both in terms of what he believes to be virtuous and his strategic actions, embodies these principles.
“A million dollars isn’t cool you know what is cool… A billion dollars.”
Throughout the film Zuckerberg employs tactics to outsmart competitors and strengthen his grip on Facebook. Mark’s dealings with the Winklevoss twins, whom he deceives and stalls while developing his platform illustrate Machiavelli’s advice to be cunning and strategic. This also applies especially to his own inner trust which slowly erodes over time. In a scene where Mark and Eduardo gather strategy advice from infamous Napster creator Sean Parker, Eduardo asks about Mark’s refusal to put ads on the platform. Ultimately as a powerplay to out “cool” the competition, Sean appeals in favor of Mark’s tactic. However, this scene is also about Sean Parkers power play to strengthen his grip on (The) Facebook causing Eduardo to be further pushed outside of the inner circle. This manifests later when his harsh reduction of Saverin’s shares in Facebook reflects Machiavelli’s counsel that leaders should not hesitate to take severe measures to retain power.
Nonetheless, The Social Network also depicts the consequences of Machiavellian strategies. While Zuckerberg attains success, he ultimately finds himself isolated underscoring Machiavelli’s acknowledged warning that the pursuit of power can result in loneliness and a lack of true human connections. However, Machiavelli philosophy cannot abide in love or friendship alone as it is seen in the end as fickle and just another tool for deception to gain power. He makes this clear when he says things like, “Since love and fear can hardly exist together, if we must choose between them, it is far safer to be feared than loved.”, and, “it is much safer to be feared than loved because …love is preserved by the link of obligation which, owing to the baseness of men, is broken at every opportunity for their advantage; but fear preserves you by a dread of punishment which never fails.”
“Do you realize that you jeopardized the entire company? Do you realize that your actions could have permanently destroyed everything I’ve been working on?”
Immanuel Kant’s philosophy, his imperative, presents a stark contrast, to the Machiavellian approach. Kantian ethics stress the significance of following principles and treating people as ends in themselves not just as tools, for personal gain. Through-out the film, Zuckerberg’s actions often go against ideals.
In his book, Groundwork of the Metaphysics of Morals, Kant states, “A good will is good not because of what it effects, or accomplishes, not because of its fitness to attain some intended end, but good just by its willing, i.e. in itself; and, considered by itself, it is to be esteemed beyond compare much higher than anything that could ever be brought about by it in favor of some inclinations, and indeed, if you will, the sum of all inclinations. Even if by some particular disfavor of fate, or by the scanty endowment of a stepmotherly nature, this will should entirely lack the capacity to carry through its purpose; if despite its greatest striving it should still accomplish nothing, and only the good will were to remain (not of course, as a mere wish, but as the summoning of all means that are within our control); then, like a jewel, it would still shine by itself, as something that has full worth in itself.”
It is likely that Kant would disapprove of Zuckerberg’s manipulative conduct as it disregards the worth and self-governance of those he interacts with. The moral challenges encountered by the characters in the film like choosing to betray friends for benefit highlight the conflict between ambition and ethics. Kant’s philosophy prompts us to ponder whether Zuckerberg’s achievements justify the compromises made along his journey. Furthermore, the depiction of Sean Parker in the film, introducing Zuckerberg to cutthroat Silicon Valley business tactics, sheds light on this dilemma. Parker’s influence drives Zuckerberg away from ethics, pulling him deeper into a realm where power and success reign supreme.
“You better lawyer up asshole, because I’m not coming back for 30%, I’m coming back for EVERYTHING.”
The Social Network skillfully intertwines these viewpoints weaving a narrative of power, ambition, and morality. Zuckerberg’s rise, to prominence, seen through the perspectives of Hicks, Machiavelli, and Kant uncovers the sometimes-conflicting aspects of ambition.
Hick’s analysis of power dynamics, underscores how power plays a role in shaping relationships and societal frameworks. Machiavelli presents a complex strategy for attaining and retaining power, a path that Zuckerberg navigates with both achievements and personal sacrifices. On the hand, Kantian ethics offer a perspective scrutinizing the ethical justification of the methods employed to attain such influence.
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Conclusion
Viewers are prompted by the film to contemplate the price of ambition and the moral compromises often necessary for achieving success. The Social Network furthermore encourages some introspection on our values and the delicate balance between ambition and ethics in our own professional spheres.
By examining The Social Network through these philosophical views, we gain a deeper understanding of the film’s commentary on the nature of power and its impact on human relationships and ethical considerations. Ambition and morality, as portrayed in the film, serves as a poignant reminder of the complexities and consequences of the quest for such power and how we decide to utilize such power within our own lives.
Reading List
Explaining Postmodernism by Stephen Hicks
The Prince by Niccolo Machiavelli
Groundwork of the Metaphysics of Morals by Immanuel Kant
