The Myth of Popularity

WARNING: Everything I say forthwith is purely speculative based on a rough approximation of a presented view of how a part of our world works, plus some vaguely related stuff I happen to know. It is very likely to differ from your own personal view of things, so please don’t get angry with me if it does.

Bad TV and cinema is a great source of inspiration; not because there’s much in it that’s interesting, but because there’s just so much of it that even without watching any it is possible to pick up enough information to diagnose trends, which are generally interesting to analyse. In this case, I refer to the picture of American schools that is so often portrayed by iteration after iteration of generic teenage romance/romcom/’drama’, and more specifically the people in it.

One of the classic plot lines of these types of things involves the ‘hopelessly lonely/unpopular nerd who has crush on Miss Popular de Cheerleader and must prove himself by [insert totally retarded idea]’. Needless to say these plot lines are more unintentionally hilarious and excruciating than anything else, but they work because they play on the one trope that so many of us are familiar with; that of the overbearing, idiotic, horrible people from the ‘popular’ social circle. Even if we were not raised within a sitcom, it’s a situation repeated in thousands of schools across the world- the popular kids are the arseholes at the top with inexplicable access to all the gadgets and girls, and the more normal, nice people lower down the social circle.

The image exists in our conciousness long after leaving school for a whole host of reasons; partly because major personal events during our formative years tend to have a greater impact on our psyche than those occurring later on in life, but also because it is often our first major interaction with the harsh unfairness life is capable of throwing at us. The whole situation seems totally unfair and unjust; why should all these horrible people be the popular ones, and get all the social benefits associated with that? Why not me, a basically nice, humble person without a Ralph Lauren jacket or an iPad 3, but with a genuine personality? Why should they have all the luck?

However, upon analysing the issue then this object of hate begins to break down; not because the ‘popular kids’ are any less hateful, but because they are not genuinely popular. If we define popular as a scale representative of how many and how much people like you (because what the hell else is it?), then it becomes a lot easier to approach it from a numerical, mathematical perspective. Those at the perceived top end of the social spectrum generally form themselves into a clique of superiority, where they all like one another (presumably- I’ve never been privy to being in that kind of group in order to find out) but their arrogance means that they receive a certain amount of dislike, and even some downright resentment, from the rest of the immediate social world. By contrast, members of other social groups (nerds, academics [often not the same people], those sportsmen not in the ‘popular’ sphere, and the myriad of groups of undefineable ‘normies’ who just splinter off into their own little cliques) tend to be liked by members of their selected group and treated with either neutrality or minor positive or negative feeling from everyone else, leaving them with an overall ‘popularity score’, from an approximated mathematical point of view, roughly equal to or even greater than the ‘popular’ kids. Thus, the image of popularity is really something of a myth, as these people are not technically speaking any more popular than anyone else.

So, then, how has this image come to present itself as one of popularity, of being the top of the social spectrum? Why are these guys on top, seemingly above group after group of normal, friendly people with a roughly level playing field when it comes to social standing?

If you were to ask George Orwell this question, he would present you with a very compelling argument concerning the nature of a social structure to form a ‘high’ class of people (shortly after asking you how you managed to communicate with him beyond the grave). He and other social commentators have frequently pointed out that the existence of a social system where all are genuinely treated equally is unstable without some ‘higher class’ of people to look up to- even if it is only in hatred. It is humanity’s natural tendency to try and better itself, try to fight its way to the top of the pile, so if the ‘high’ group disappear temporarily they will be quickly replaced; hence why there is such a disparity between rich and poor even in a country such as the USA founded on the principle that ‘all men are created free and equal’. This principle applies to social situations too; if the ‘popular’ kids were to fall from grace, then some other group would likely rise to fill the power vacuum at the top of the social spectrum. And, as we all know, power and influence are powerful corrupting forces, so this position would be likely to transform this new ‘popular’ group into arrogant b*stards too, removing the niceness they had when they were just normal guys. This effect is also in evidence that many of the previously hateful people at the top of the spectrum become very normal and friendly when spoken to one-on-one, outside of their social group (from my experience anyway; this does not apply to all people in such groups)

However, another explanation is perhaps more believable; that arrogance is a cause rather than a symptom. By acting like they are better than the rest of the world, the rest of the world subconsciously get it into their heads that, much though they are hated, they are the top of the social ladder purely because they said so. And perhaps this idea is more comforting, because it takes us back to the idea we started with; that nobody is more actually popular than anyone else, and that it doesn’t really matter in the grand scheme of things. Regardless of where your group ranks on the social scale, if it’s yours and you get along with the people in it, then it doesn’t really matter about everyone else or what they think, so long as you can get on, be happy, and enjoy yourself.

Footnote: I get most of these ideas from what is painted by the media as being the norm in American schools and from what friends have told me, since I’ve been lucky enough that the social hierarchies I encountered from my school experience basically left one another along. Judging by the horror stories other people tell me, I presume it was just my school. Plus, even if it’s total horseshit, it’s enough of a trope that I can write a post about it.


The Sting

I have twice before used this blog to foray into the strange world of film reviewing; something that I enjoy, given that I enjoy cinema, but am usually unable to make a stable source of material since I don’t generally have the time (or, given a lot of the films that get released in my local cinema, inclination) to see too many of them. My first foray was a rather rambling (and decidedly rubbish) examination of The Hunger Games, with a couple of nods to the general awesomeness of The Shawshank Redemption, whilst I felt compelled to write my second just to articulate my frustration after seeing The Dark Knight Rises. Today, I wish to return to the magical fairy kingdom of the big screen, this time concerning something that I would ordinarily have never seen at all; 70s crime flick ‘The Sting’

The Sting is quite clearly a film from another era of filmmaking; I am not old enough to remember the times when a stock ‘thump’ sound byte was inserted into the footage every time an object is put onto a table, but this film contains such cinematic anachronisms in spades. Similarly, this is the first film I have ever seen starring Robert Redford and my first from director George Roy Hill, but age should be no barrier to quality entertainment if it’s there to shine through and thankfully it’s basic plot and premise lend it to a graceful aging process.

The plot can be fairly summarily described as uncomplicated; a young confidence trickster who ends up accidentally making a small fortune from a fairly routine con is pursued by the mob boss whose money he has now lost, so teams up with an experienced ‘old head’ to bring him down. So Ocean’s Eleven with a simpler character base and more realistic motivations. Where the two differ, however, is in their dedication to their subject material; whilst the Ocean’s films are generally content to follow some rather formulaic Hollywood scriptwriting, placing their emphasis heavily on interpersonal relationships and love interests, The Sting goes out of its way to be a true crime story to its very core. Set in the golden age of organised crime (1930s prohibition-era Illinois, real-life home of Al Capone) with a memorable ragtime soundtrack to match, every stage (illustrated explicitly through the use of old-fashioned title cards) of the film’s overarching ‘big con’ plot takes the form of a classic confidence trick, from an old-fashioned money switch to a large-scale rigged betting house, incorporating along the way possibly the finest played (and cheated) game of poker ever to appear on screen. Every feature, facet and subplot from the cheated cop to the seemingly out-of-place love interest all has its place in the big con, and there was nothing there that didn’t have a very good reason to be. Not only did this create a rollercoaster of a focused, central plot without unnecessary distractions, but the authenticity of the tricks, characters and terminology used built a believable, compelling world to immerse oneself in and enjoy. Combine that with a truly stellar portrayal of the seen-it-all genius conman Henry Gondorff by Paul Newman, and Robert Redford’s evident gift for building a very real, believable character in the form of naive youngster Johnny Hooker, and we have the makings of an incredibly immersive story that you often have to remind yourself isn’t actually real.

However, by putting such focus on its central con, The Sting puts itself under an awful lot of pressure, for without any extraneous components (hell, there aren’t even any proper action scenes, despite the not infrequent bouts of gunfire) it has got nowhere to fall if its central plot fails. Thus, the success of the film very much rests on the success of the con it centres around, not just in terms of execution itself but in making its execution fit its style. The Sting is not about coming up with something on the fly, about something unexpected coming up and winning through on the day- it is an homage to planning, to the skill of the con, of hooking in the mark and making them think they’ve won, before turning the ace in the hole. To turn successful planning, what was intended to happen happening, into compelling drama is a task indeed for a filmmaker.

And yet, despite all the odds, The Sting pulls it off, thanks to the extraordinary depth director Hill packs into his seemingly simplistic plot. Each subplot put into play is like adding another dot to the puzzle, and it is left to the viewer to try and join them all to formulate the finished picture- or alternatively watch to see the film do so all with staggering aplomb. Every element is laid out on the table, everyone can see the cards, and it’s simply a matter of the film being far smarter than you are in revealing how it pulls its trick, just like a conman and his mark. You, the viewer, have been stung just as much as Robert Shaw’s mob boss of a mark, except that you can walk out of the room with your wallet full and a smile on your face.

This is not to say that the film doesn’t have problems. Whilst the basic premise is simple and well-executed enough to be bulletproof, its ‘setup’ phase (as the title cards called it) spends an awful lot of time on world-, scenario- and character-building, filling the early parts of the film with enough exposition to make me feel decidedly lukewarm about it- it’s all necessary to remove plot holes and to build the wonderful air of depth and authenticity, but something about its execution strikes me as clunky. It also suffers Inception’s problem of being potentially confusing to anyone not keeping a very close track of what’s going on, and one or two of the minor characters suffer from having enough of a role to be significant but not enough characterisation to seem especially real. That said, this film won seven Oscars for a reason, and regardless of how slow it may seem to begin with, it’s definitely worth sticking it out to the end. I can promise you it will be worth it.