For the second half of the movie, Durden is literally a terrorist, an objectively deplorable person with a completely unenviable life. He and his group go around blowing up electronics stores, threatening public figures, and generally doing things that make him look like an exemplary Al-Qaeda affiliate. His coup de grace is blowing up several buildings that hold credit card records in an effort to erase all debt.

20th Century Fox
"It's not terrorism if the Pixies are playing."

Aside from the fact that he's clearly wrong that this would erase all debt, it's also a goal that makes him a complete and utter asshole. Durden outlines his vision for the future by saying, "In the world I see, you are stalking elk through the damp canyon forests around the ruins of Rockefeller Center." He envisions a world set back hundreds of years, which might sound like more fun than working in an office if you're a young, able-bodied dude. If you happen to have been born with any kind of disability, that probably sounds like the indirect murder of millions of people. For all his care to make sure the buildings are empty of any security personnel, Durden's plan would still kill their kid with congenital heart disease. And he'd do it for little more reason than thinking data entry is boring.

We end the movie with Durden defeated, having caused a bunch of property damage but ultimately (thankfully) to little consequence. To see Fight Club and want to emulate him is to completely miss the point -- which people still do, despite the fact that Fincher has said openly that it is satire. Durden's appeal in the first half is supposed to underscore how grotesque his ideas are when taken to their extreme. Seeing Tyler and then opening your own fight club is like seeing a movie about the Jonestown massacre and opening a Kool-Aid stand.

But Gekko is such a pitiful douchebag that the only possible explanation for finance bros looking up to him is if they stopped the movie 15 minutes in to blow copious amounts of coke off the DVD. If only they had bothered to watch the rest of the movie, they would have seen that it's a rather heavy-handed morality play, in which Gekko couldn't be more of a villain if Oliver Stone put him in a black hat, twirling a mustache and strangling kittens.

20th Century Fox
The original script had him smoking only the finest of imported orphan fingers.

First, Gordon isn't good at trading. He makes all his real money trading on insider information he gathers from people looking to curry favor with him. He's basically a walking Ponzi scheme. Second, he isn't even very good at cheating to win, since he gets caught for insider trading, which is apparently harder than finding a Taylor Swift concert in a snowstorm. Third, he wasn't even sitting on top of the world. Gekko is obsessed with a much richer, more successful, and (hint hint) much more moral businessman, Sir Lawrence Wildman. When Wildman tells Gekko off for destroying blue-collar jobs, it's shocking that "APPLAUSE" doesn't flash across the screen.

Gekko contributes nothing to the world, he puts workers out on the street in order to turn a buck, and is rich but is made miserable by insatiable avarice. He's basically a Soviet caricature of an evil capitalist come to life, who gets his comeuppance for his misdeeds. And yet actual, smart human beings who are capable of paying someone to complete college for them look up to him for it. Michael Douglas said he still gets finance bros coming up to him saying, "You're the man!" It's deeply, deeply depressing.

Take, for example, last year's incredibly stupid essay "Women are not capable of understanding GoodFellas." It claims that the three main characters "are exactly what guys want to be ... a small group of guys who will always have your back." Just like other fanboys of this trio, the author seems to have missed the ending of the movie, wherein Ray Liotta testifies against his bosom buddy Robert De Niro to save his own ass. They quote Joe Pesci's character at his most psychotic, dangerously defensive moments, as though this movie were a zinger-packed John Wick: Origins.

Also, everyone ends up miserable. In case you haven't seen it, Scorsese summarizes the plot as "a bunch of outlaws do this incredible robbery and they all kill each other and the police get them in the end." He says he views it as a cautionary tale about this lifestyle, "Scarface without Scarface." To romanticize these guys is to romanticize crying on the floor, panicked and at wit's end because your wife flushed the last of your cocaine. You know, cool mobster stuff.

We think of Don as a sex symbol because he had a lot of it. It's shockingly rare, however, that people step back to consider whether they'd want the kind of sex he was having. In the course of the show's seven seasons, sex ruins nearly every relationship with a woman he has. Don's philandering quickly gets very sad as the show goes on. It loses him two wives and the respect of his daughter. The man is so completely destroyed by his personal and emotional shortcomings that the series ends with him trying to piece his identity back together with the least Don Draper thing imaginable: a meditation retreat.

Remembering Don Draper for being sexy is like remembering the Deepwater Horizon for being a really efficient oil rig. "Ooooh, you look very Don Draper" should be taken to mean, "Oh Jesus, you look like your vices have cost you everything you hold dear."

Lionsgate Television
In real life, he'd have pee pants in at least 60 percent of his scenes.

That's when the most iconic moment of the film happens, when Tony goes into berserker mode and tells a boatload of the rival cartel to, "Say hello to [his] little friend." Badass, right? This is the Tony people idolize: rich, powerful, shooting the living hell out of all his enemies. You can see why that would be on a poster.

Universal Pictures

Except that wasn't the main poster for the movie; that's the revisionist poster many people remember now. The main poster was much more reflective of the actual tone of the movie.

Universal Pictures

The end of the film isn't Tony busting caps to rebuild his empire another day. At the end, Tony has destroyed everything that mattered to him and is surrounded by his enemies. Rather than make the smart play and retreat and regroup (as he does earlier in the film when attacked), Tony goes on a suicidal rampage. His wanton disregard for his life isn't because he's such a badass; it's because he has nothing to live for and knows this is the end. All that for just a few years near the top. It turns out the real drug was hubris.

Dark, right? Not if you've just absorbed Scarface from pop culture references! If you've never actually seen the movie, but have just seen it referenced many, many times, you'd think this was the story of the founding of a cocaine Rome -- a legacy made to last hundreds of years.

I don't get it, and neither does Al Pacino, but people look up to Tony so much that the ending seems to disappear from memories faster than an eight ball on Miami Beach. No matter what the movie says, they see Tony as someone to aspire to. There was even a video game which tried to "fix" the ending, so that Tony (a murderer who has lost everything he lived for) survives and goes on to presumably bigger and cocainier things accompanied by more extreme existential crises.

Universal Interactive
Hooray!

It's easy to understand why people idolize these characters. "Despicable" as they might be, they're being portrayed by literally the most charismatic people on earth. That makes them pretty damn attractive. Plus they don't take no crap from nobody, and they (for a brief moment, anyway) get exactly what they want. But so does a fly when it lands on a big, fresh pile of shit. So did Hitler. So does the main character in my WWII-meets-The-Fly alternate reality movie Fly Hitler. (Technically that last one takes shit from everybody, it's kind of his thing.) Just because someone is charismatic and fleetingly gets what they want doesn't mean they should be emulated. That's how we went from the character Alex P Keaton to real life Scott Baio.

Aaron Kheifets is an occasionally mustachioed comedian, writer, and director. You are allowed to follow him on Twitter.

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