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In the e-mails he receives and the one-on-one coaching sessions that he gives, O’Malley told me that “Fight Club” comes up so regularly that he has come to expect it. O’Malley offers dating advice “to geeks of all stripes”: relationship tips geared toward fans of video games, comic books, sci-fi, and the like, formulated with an eye toward steering people away from the appeal of PUA-type misogynistic snake oil. Over the summer, I talked about the enduring influence of “Fight Club” with Harris O’Malley, who runs a dating-advice Web site called Paging Dr. In fact, Norton’s character doesn’t have a name. No one was naming himself after Norton’s character. But when I saw this element of the film acknowledged online, it was usually presented as a thematic flaw, or a sop to the demands of big-studio moviemaking. This act is crucial to the movie’s most articulate defenders: proof that “Fight Club” functions as a critique of Tyler, not a valorization. In the final scene, Norton’s character “kills” Tyler, implicitly recognizing-and picking-a path between mindless middle-class consumerism and the nihilistic will to power of the terrorist. There was little discussion on these boards of how Tyler is ultimately revealed to be a hallucination who exists only in the Norton character’s mind: a projection cooked up by his subconscious to yank him out of an existential malaise of alienating corporate work, condo payments, and IKEA catalogues. Tyler is an alpha male who does what he wants and doesn’t let anyone stand in his way “Fight Club,” then, was a lesson in what you had to do to stop being a miserable beta like the film’s other main character, a frustrated white-collar office worker played by Edward Norton.
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In the years that followed, I became a regular lurker on message boards not just in the PUA world but also across the networks of male resentment to which pickup artistry frequently functioned as a gateway drug: “men’s rights” activists, the anti-feminist hive called the Red Pill, incels, the amorphous “ alt-right.” Browsing through this world, I saw “Fight Club” references and offhand worship of Brad Pitt’s character, Tyler Durden, all the time. Though the book ended with him taking a critical view of the PUA experience, its publication-plus a wave of bemused media coverage-brought new legions of curious men to pickup artistry and, by extension, to a world view that framed interactions between men and women as a scientifically hackable quest for maximum sex with minimal emotional investment.
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Strauss attempted to engineer his own transformation from, in the lexicon of his housemates, “AFC” (average frustrated chump) to “PUA” (pickup artist) to “PUG” (pickup guru). These groups had existed below the cultural radar for decades, well before “Fight Club.” In 2005, they received a new level of attention when Neil Strauss published “ The Game,” a memoir/investigation about his time living in a Los Angeles group house devoted to the refinement of seduction techniques. The first sign that “Fight Club” might inspire men to do anything other than quote “Fight Club” on their Facebook walls came in the mid-two-thousands, with the rise of the “seduction community.” These were groups of men searching together-sometimes in live seminars, but increasingly via online Listservs-for an objectively reliable set of techniques that would maximize their chances of getting women in bed.
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The movie has become part of the contemporary mass-cultural canon through which large numbers of men try to think through masculinity. In the debates surrounding the release of Todd Phillips’s “ Joker”-another movie about lost men rising up-“Fight Club” was one of the most reached-for comparisons. Today, men still quote “Fight Club,” still discuss what the movie really means, and still dress like its characters for Halloween. On DVD, however, it found a second life, selling millions. The film, based on a relatively unknown 1996 novel by Chuck Palahniuk, took the top spot at the box office its opening weekend, but then quickly fizzled. In the course of the film, these men expand into low-grade pranks and vandalism, and eventually form a terrorist cell called Project Mayhem that plants bombs in skyscrapers. Twenty years ago this fall, David Fincher’s “ Fight Club” went into wide release, drawing moviegoers into a tale of disaffected American men who chase authenticity by pummelling the shit out of one another in poorly lit basements.