When the Winklevii hear about the site’s success, they sue for intellectual property theft. After stringing the Winklevii along for months, Zuckerberg launches “,” which becomes an instant hit.Īs the site expands, Zuck links up with Napster founder Sean Parker, moves to California, drops the “the” from Facebook’s name, and begins to pursue venture capital funding. But rather than develop it, Zuckerberg takes a similar idea to his best friend, Eduardo Severin, and begins coding a site of his own. After FaceMash goes viral at Harvard, landing Zuckerberg with academic probation, he’s approached by twin WASPs, Cameron and Tyler Winklevoss, and their partner, Divya Narendra, with an idea for a website: a digital “facebook” for their classmates. The genesis story is now common lore for anyone sentient this past decade. But for all that rings true, the most revealing parts of The Social Network lie in what no longer does-namely, mapping the motivations of a now-omnipresent global corporation onto the insecurities of a single, impish boy.
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A decade out, so much of the movie holds up, predicting, through Zuckerberg’s unflinching betrayals, the website’s evolution into a sprawling conglomerate with few allegiances beyond unfettered growth and acquisition. “Fourteen years after it was founded,” reporter Evan Osnos wrote in a New Yorker profile of Zuckerberg last year, “Facebook has as many adherents as Christianity.” If Facebook was a religion, The Social Network would be something like its dystopian Synoptic Gospels: four stories-of Zuckerberg, the Winklevosses, Napster playboy Sean Parker, and exiled co-founder Eduardo Saverin-presaging the arrival of a new king. That’s nearly a third of everyone alive right now. The movie’s tagline, “You can’t make 500 million friends without making a few enemies,” seems modest next to the platform’s 2.45 billion users who’ve signed into Facebook at least once a month. Ten years after The Social Network debuted, a lot has changed for Facebook. The facts behind screenwriter Sorkin’s neat psychological rendering were disputed (it’s unclear, for example, if Zuckerberg ever dated the girl on whom Albright is based), but for years, his portrait of Zuckerberg as awkward misanthrope hovered over the “ boy CEO’s” public persona. The movie both became an instant classic and placed the rise of Facebook in a familiar, if trite, narrative-the misunderstood, socially inept nerd seeking revenge for the girls he didn’t get and the jocks who didn’t accept him. That opening sets the stage for what The Social Network director David Fincher called “the Citizen Kane of John Hughes movies.” It was a droll tagline, but an apt one. Also real is what follows: the future billionaire coding his infamous website, FaceMash, where users could sift through classmates’ photos, ranking the hotter out of two. The proto-incel monologue is real, pulled from Zuckerberg’s actual blog, Zuckonit.
When Zuckerberg goes home that night, drunk and bitter, he logs into his LiveJournal and writes a post about Albright, calling her a bitch, claiming she stuffs her bra, and musing over whether to make a website comparing photos of girls to farm animals. “If I get in,” Zuck responds, “I will be taking you to the events and gatherings and you’ll be meeting a lot of people you wouldn’t normally get to meet.” He goes on to sneer at her school, Boston University, and accuse her of sleeping with a bouncer. “You have finals club O.C.D.,” Albright says. At a college pub, Zuck drones at his girlfriend, Erica Albright (Rooney Mara), rattling off unique qualities (perfect SAT scores, a capella skills, a rower’s physique), before homing in on the reason for his obsession: final clubs-Harvard jargon for frats, only far richer. It comes after a textbook Aaron Sorkin back-and-forth about Zuckerberg’s desire for distinction. In the opening scene of The Social Network, which came out 10 years ago, scored eight Oscar nominations, grossed some $224 million at the box office, and foreshadowed the decade of relentless growth and privacy gaffes Facebook would unleash on the world, we meet a college-aged Mark Zuckerberg, played by a perfectly stiff Jesse Eisenberg, spitting neuroses at a girl about to dump him.
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