"Changing the Algorithm of Life" -Movie: American Psycho

更新 發佈閱讀 12 分鐘


2000 American Psycho

In my mind, having a house, a car, cats and dogs, and a group of so-called “good” friends—being able to show off wealth, talk about art, discuss wine, and listen to music together—that should already be the happiest kind of life. So why do some of those people care more than I do about others’ expressions and reactions? Why do they cling to trivial, ridiculous logic in places I would never even notice, stubbornly refusing to admit fault—so stubborn that they would rather drag the whole world down with them than let anyone else have peace?

They keep twisting their arguments. When one angle no longer works, they jump to another without any logic. They invent one strange story after another to divert responsibility and attention. Gradually, people lose respect for them, and the atmosphere around them becomes increasingly uncomfortable. Aside from their money, no one wants to get close—because even one extra sentence of conversation feels like suffering.

These people already possess things others may never reach in a lifetime. Yet no amount of admiration or envy seems visible to them. Instead, they indulge in bullying others, humiliating them, pretending to be victims, ignoring collective interests—and chasing a very short-sighted kind of pleasure.

No one in this world can completely surpass another person in everything. I once heard a story: a monk steamed a bun for himself. Others might make buns sweeter, more fragrant, or with better ingredients—but he still preferred the one he made himself.

It’s like painting. The person who loves a painting the most is always the painter. Even world-famous artworks—say, those by Picasso—no matter how expensive they are, people who don’t understand them simply don’t understand them. If it weren’t because everyone says they are valuable, would collectors truly want to hang them at home and invite like-minded people to discuss the artist’s ideas, personality, brushwork, composition, and use of color?

Slow and indifferent as I am, I don’t even pay attention to whose face is printed on banknotes. Whatever that person accomplished or how great their achievements were—I may never have thought about it, or I simply don’t remember. So when I feel inexplicable malice or deliberate targeting from these so-called “rich” individuals, what I feel most is confusion—something difficult to understand and even harder to believe.

Unfortunately, in this “power-admiring” world, people tend to rationalize the behavior of these “elites.” If they make a “careless mistake,” any accountability becomes “hysterical persecution.” But a “nobody” must remain cautious at every moment, argue over every detail, and defend themselves endlessly—almost to the point of exhaustion—just to “grow through hardship,” as if that were only natural.

If we ask why so many people choose to “lie flat,” isn’t it the result of learned helplessness? Others’ success offers no practical reference, while one’s own attempts are met again and again with unreasonable, unfair, and exaggerated obstacles. Under such conditions, it feels easier not to think about tomorrow at all—just to live one more day comfortably and count that as a victory.

Perhaps the lowest and highest classes share one thing in common: neither truly considers the public nor the collective future. When the “answer” cannot be changed, people change the “algorithm.” In an environment swinging between extreme malice and selective goodwill, prioritizing individual survival becomes a kind of survival wisdom.

After all, it was the “elites” who first rewrote the algorithm—creating precedents that shattered consensus, encouraged fragmentation, and rejected cooperation, all to secure their own power. As the hearts of the “nobodies” drift farther from the "mainstream", who can really be blamed? After watching this film, would anyone truly sympathize with the protagonist and call his life “unfortunate”?

I believe that one day, all the lonely and suppressed “nobodies” will collectively reach a breaking point. Only then will they find ways to reconnect and resist some of the elite classes that has long since lost its sanity and moral grounding. But before any larger reckoning arrives, the best choice is simple: stay as far away from such people as possible—no matter how much money they seem to offer—and protect your own life first.

And perhaps even death—or some form of ending—is not entirely tragic for those who appear glamorous on the surface yet remain hollow and fragile inside, incapable of facing reality.

Until the day of reckoning comes, I will keep believing this:

Don’t look back—just keep moving forward.



留言
avatar-img
Big Softshell of Glassy Snail
44會員
413內容數
透過創作,表達對生活的反思和觀察。 Through creation, express reflections and observations on life. 推薦喜歡的流行文化作品 Share pop culture picks. 寫寫同人小說 Create Fanfictions.
你可能也想看
Thumbnail
這是一場修復文化與重建精神的儀式,觀眾不需要完全看懂《遊林驚夢:巧遇Hagay》,但你能感受心與土地團聚的渴望,也不急著在此處釐清或定義什麼,但你的在場感受,就是一條線索,關於如何找著自己的路徑、自己的聲音。
Thumbnail
這是一場修復文化與重建精神的儀式,觀眾不需要完全看懂《遊林驚夢:巧遇Hagay》,但你能感受心與土地團聚的渴望,也不急著在此處釐清或定義什麼,但你的在場感受,就是一條線索,關於如何找著自己的路徑、自己的聲音。
Thumbnail
5 月將於臺北表演藝術中心映演的「2026 北藝嚴選」《海妲・蓋柏樂》,由臺灣劇團「晃晃跨幅町」製作,本文將以從舞台符號、聲音與表演調度切入,討論海妲・蓋柏樂在父權社會結構下的困境,並結合榮格心理學與馮.法蘭茲對「阿尼姆斯」與「永恆少年」原型的分析,理解女人何以走向精神性的操控、毀滅與死亡。
Thumbnail
5 月將於臺北表演藝術中心映演的「2026 北藝嚴選」《海妲・蓋柏樂》,由臺灣劇團「晃晃跨幅町」製作,本文將以從舞台符號、聲音與表演調度切入,討論海妲・蓋柏樂在父權社會結構下的困境,並結合榮格心理學與馮.法蘭茲對「阿尼姆斯」與「永恆少年」原型的分析,理解女人何以走向精神性的操控、毀滅與死亡。
Thumbnail
本片的美術設計讀到,也契合著主角Patrick Bateman高雅殺人犯的生活。我想Patrick Batema和朋友間的名片較勁,對於字體、紙質、印刷技巧的鑽牛角尖,最後讓自己因為輸了而怒不可遏,處於暴走邊緣,絕對讓不少觀眾會心一笑。
Thumbnail
本片的美術設計讀到,也契合著主角Patrick Bateman高雅殺人犯的生活。我想Patrick Batema和朋友間的名片較勁,對於字體、紙質、印刷技巧的鑽牛角尖,最後讓自己因為輸了而怒不可遏,處於暴走邊緣,絕對讓不少觀眾會心一笑。
Thumbnail
這是一篇,有些乾貨但又沒有什麼營養的文章,如果你看過這部電影,也對其感到困惑,可以點進來討論~
Thumbnail
這是一篇,有些乾貨但又沒有什麼營養的文章,如果你看過這部電影,也對其感到困惑,可以點進來討論~
Thumbnail
作為一部形式主義的作品,千萬別把「美國殺人魔」當成一個角色,克里斯汀·貝爾飾演的派翠克·貝曼,在電影一開頭就很直白的告訴觀眾:「派翠克·貝曼是種概念,抽象的概念」。在他那麼精緻、自律的日常規範下,他自剖的口白有種過度解說的干擾,到了最後才又發現是那麼必須......
Thumbnail
作為一部形式主義的作品,千萬別把「美國殺人魔」當成一個角色,克里斯汀·貝爾飾演的派翠克·貝曼,在電影一開頭就很直白的告訴觀眾:「派翠克·貝曼是種概念,抽象的概念」。在他那麼精緻、自律的日常規範下,他自剖的口白有種過度解說的干擾,到了最後才又發現是那麼必須......
Thumbnail
背景:從冷門配角到市場主線,算力與電力被重新定價   小P從2008進入股市,每一個時期的投資亮點都不同,記得2009蘋果手機剛上市,當時蘋果只要在媒體上提到哪一間供應鏈,隔天股價就有驚人的表現,當時光學鏡頭非常熱門,因為手機第一次搭上鏡頭可以拍照,也造就傳統相機廠的殞落,如今手機已經全面普及,題
Thumbnail
背景:從冷門配角到市場主線,算力與電力被重新定價   小P從2008進入股市,每一個時期的投資亮點都不同,記得2009蘋果手機剛上市,當時蘋果只要在媒體上提到哪一間供應鏈,隔天股價就有驚人的表現,當時光學鏡頭非常熱門,因為手機第一次搭上鏡頭可以拍照,也造就傳統相機廠的殞落,如今手機已經全面普及,題
Thumbnail
本文分析導演巴里・柯斯基(Barrie Kosky)如何運用極簡的舞臺配置,將布萊希特(Bertolt Brecht)的「疏離效果」轉化為視覺奇觀與黑色幽默,探討《三便士歌劇》在當代劇場中的新詮釋,並藉由舞臺、燈光、服裝、音樂等多方面,分析該作如何在保留批判核心的同時,觸及觀眾的觀看位置與人性幽微。
Thumbnail
本文分析導演巴里・柯斯基(Barrie Kosky)如何運用極簡的舞臺配置,將布萊希特(Bertolt Brecht)的「疏離效果」轉化為視覺奇觀與黑色幽默,探討《三便士歌劇》在當代劇場中的新詮釋,並藉由舞臺、燈光、服裝、音樂等多方面,分析該作如何在保留批判核心的同時,觸及觀眾的觀看位置與人性幽微。
追蹤感興趣的內容從 Google News 追蹤更多 vocus 的最新精選內容追蹤 Google News