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Money
Goodman’s bad math is only half the problem with “fuck you money.”
In the 1974's The Gambler, James Caan plays an uptown New York lit professor who's forty-four thousand dollars down to the sort of people who don't read the right Russians, but definitely know the wrong ones. The pointedly named Axel Freed (what happens when a bike hits a pothole) articulates his view on life by telling a back-row yuppie that two and two may make four, but the man who insists it's five has "pure will."
The Gambler was a modest hit that gave James Caan a post-Godfather bump, but got flattened by Taxi Driver in the cultural memory. Nevertheless, it was remade in 2014 with Mark Wahlberg (who gives lit professor the same way Mickey Rooney gives Asian). The reboot was worse than the original boot save for a soliloquy defining "Fuck You Money" delivered by a mathematically minded loan shark played by John Goodman. YouTube viewers have watched clips of Goodman’s out-load calculations (written by William Monahan of The Departed fame) over 4M times. Fuck You Money is now a touchstone for the both degens and numerate clock punchers.
You get up two and a half million dollars... you get a house with a 25-year roof, an indestructible economy shitbox, you put the rest into the system at 3% to 5%… that puts you, for the rest of your life, at a level of 'Fuck You.' Someone wants you to do something? Fuck you. Boss pisses you off? Fuck you! ... A wise man's life is based around 'fuck you.' ... You're a king? ... Fuck you! Blow me.
Fuck You Money buys you the right to fire your boss and not hire another, but there's a nasty irony afoot. Because Fuck You Money inflation runs hotter than dollar inflation, collecting it requires intense self management. Not only is the real money harder to come by than Goodman lets on, the "Fuck You" inevitably winds up getting shouted into a mirror.
Goodman's number is neither right or wrong, but it is very specific. At 4%, his $2.5 million throws off $100,000 a year, which was more (even after taxes) than the median American household spent to get by circa 2014. It would have only cost the gambler about $2.1 million in 2014 to lead a median life forever. But that’s not enough because the gambler hasn’t lived a median life. He’s had a cushy job. He’s had access to family money. His normal would have required more than the loanshark’s $2.5M. A house that holds its value near a decent liberal arts program would have run $800,000, leaving $1.7 million minus the "25-year roof" and the "indestructible economy box" (about $22K each) throwing off $63,000, taxable at +/-15%. Buy health insurance on the open market, around $17K for a family, and the fortress of solitude nets roughly $36K a year. Used paperback money.

And the math has only gotten worse. The average family healthcare premium has risen 60% in the decade since the remake (medical prices outran the broad index), housing costs are nearly double, a Honda Accord retails for $28,400, and tariffs have jacked up the roof market. Wild as it sounds, the upper-middle life the professor is fleeing now runs about $196,000 a year, which means an upper-middle class fortress run $4.9M – particularly bad news given that the number of listings on the Modern Language Association's job board is down more than half since 1974 and the salaries are effectively 75% lower than Freed's quoted $1,500 a month.
And that's just the money. The bigger problem is the stuff of Dostoevsky and the reason James Toback, formerly a gambling-addicted English lecturer at City College and futurely a serial sexual predator, wrote the film.
The idea of Fuck You Money is contingent on having someone to say "Fuck You" to, which is in turn contingent on what the French theorist Gilles Deleuze described as an "enclosure" view of the world. The family is an enclosure. The school is an enclosure. The factory is an enclosure. And all enclosures can be vacated by those with the means to pay off and curse out the guy at the door. But that's an old way of thinking, a mental model built on clear delineations between workworld and lifeworld. But where the factory was a building, corporations and loansharking operations are "a spirit, a gas." Participants become what Deleuze called "dividuals," self-managed, self-surveilling data streams. It's the predicament the great philosopher Bobby Axelrod unpacked memorably in the Billions pilot: "What's the point of having fuck you money if you never say fuck you?"
Toback was probably too busy harassing coeds to read Deleuze, but he got the idea. In one scene from the original, Freed, riding along with a collections heavy, remarks: “Look what you've got. Fresh air; open road; free afternoon.” A few minutes later, he's watching his chauffeur, who has outsourced morality and agency to his boss who has in turn outsourced it to the system, joylessly break a man's arm. That's how it goes in hierarchical orgs. As sociologist Robert Jackall wrote after spending the early 1980s embedded among corporate managers, morality has become "what the guy above you wants." And there's almost always another guy.
Unless you say Fuck You. But that requires more than confrontation. It requires confronting the self. The Gambler ends with Axel, freed from his debts, goading a sex worker into slashing his pretty face then smiling at the wound in a mirror. It's very New Hollywood, but it's also a rebuttal to even faulty arithmetic. The path toward freedom doesn't run through cold calculation, but through the will to be perverse, contrarian – scarred by the integrity of transgression.
The real math on Fuck You Money turns out to be largely irrelevant. The cost of saying fuck you is respectability. Disfiguring the pretty face in the mirror. Killing the little loanshark in your heart. |