Earlier this year, Stewart Lee beautifully articulated his disdain for Twitter by describing it as “a state surveillance agency staffed by gullible volunteers.” By which he meant that his entire successful life could be accurately traced by reading through inane tweets sent in by the public as to his whereabouts at any given time. And that these same people would be equally fascinated by the tittle-tattle others just like them offered up for general consumption.
On Monday, I arrived home after an an eight mile cycle ride (eight miles, Twitter fans) from work. Needing provisions for the evening meal and a following breakfast, I leapt into the car & headed off to Sainsburys, unthinkingly clad only in my cycling kit, in order to purchase a few necessaries (one packet Beanfeast Bolognese, one bag organic carrots, one carton orange juice, one bottle Chilean Pinot Noir). It took less than ten minutes. After which I headed back, only to discover that my inconsequential trip had been monitored and posted for all to see by someone who, shall we say, does not have my best interests at heart. Here’s the tweet verbatim:
“Well, that was an ill-timed Sainsbury’s visit. Still, always fun to see a middle aged man dressed like Kevin Rowland c. 1983 from knees down”
Initially, I was rather flattered that a man of my crumbling stature could still conjure up the ghost of Kevin Rowland in his prime, rather than that of Marley or an extra from any of George A. Romero’s oeuvre. But then I became increasingly baffled as to why this would be of any interest whatsoever to a bunch of followers who have no idea who I am, and had not themselves doubled back on their journey home upon spotting my car (Triumph Herald), in order to claim their visit to said supermarket was “ill-timed”. 140 characters or less, by their very nature, cannot accommodate shades of grey. The whole truth requires the same event to be seen from different angles, no matter how obtuse or inconvenient. And the clandestine observation of my rolled-up jeans, paraded to an early evening set of shoppers as a misguided fashion statement of yesteryear, could legitimately have been interpreted otherwise.
Many years ago, when I was learning the finer points of filmmaking at Sheffield City Polytechnic, I watched Charles Laughton’s Night of the Hunter for the first time. The scene that most stayed with me was that of the demonic preacher (played by Robert Mitchum), standing outside and staring ominously up at the home he was soon to infiltrate, an evil omnipresence in hard contrast black and white. Perhaps if Mr Laughton had been born a tad later he would have set his unsettling movie online, the perpetrator being well versed in the dark art of social media and all its blunt power. And perhaps, just perhaps, my sartorial faux pas would have been less compelling to those who really should know better.