Last month, Mark Zuckerberg published a 6,000-word manifesto about Facebook and its place in the world. It’s a handy, comforting way of trying to slot Zuckerberg into power structures that had already been studied, rather than acknowledging the fact that upending those (and replacing them with sweeter-faced but insidious new power structures) was the DNA-level goal of what he was building. It’s not really clear what Emerson or Dargis were saying, other than they believed Zuckerberg would be pretty powerful, and that the moment seemed portentous enough to warrant tying their reviews to classics of contemporary sociology. Wright Mills’ 1956 book about bureaucratic authority figures. Rolling Stone’s Peter Travers credited it as the film that would forever “define the dark irony of the past decade.” Jim Emerson’s review at started with 300 words from Erving Goffman’s landmark 1959 essay “The Presentation of Self in Everyday Life.” The New York Times’ Manohla Dargis called it a “resonant contemporary story about the new power elite,” and linked out, on that line, to a summary of C. It’s only seven years old, but it feels like a relic, a naïve movie with quaint, softball critiques of Mark Zuckerberg and his creation.įilm critics at the time seemed to be betting that The Social Network would serve as a major historical document. It’s paced with the precision of a metronome, it’s shot and edited like a daylight-hours horror movie, it’s a more seductive scene portrait than Almost Famous or Annie Hall, and it has at least four career-high cast performances (Andrew Garfield, the quietly Oscar-snubbed!).īut watching The Social Network in 2017 is also weird, disorienting, gag-inducing, and full of unintentional laughs. The Social Network was and still is one of the sharpest movies I’ve ever seen - it’s the rare example where Sorkin’s reflex for writing witty, whiny men with outsized intellect and poorly disguised narcissism serves as an advantage instead of a handicap. With that in mind, I revisited Fincher’s Facebook film (written by Aaron Sorkin, whose script won the Best Adapted Screenplay Oscar). He’s left the door open for a side-career in politics, and lately, he’s been playing with a notion of himself as the steward of the internet’s soul. And Zuckerberg is the fresh-faced poster boy for tech optimism and flashy philanthropy. The company employs 17,000 people in 15 countries, boasts nearly a third of the world’s population as users of its service, and has invested heavily in a buzzy, controversial project to make the internet (and Facebook) accessible to everyone in the world.
Zuckerberg’s accomplishments, as listed: “Facebook runs more banner advertisements than any other website” and “ drives more US visitor traffic to some sites than even Google.” In other words, to the average reader: “You know, technical stuff.”īut today, Facebook and Mark Zuckerberg are publicly more than the technical stuff that turned the former into one of the world’s most powerful companies, and the latter into one of its wealthiest citizens. When Vanity Fair put Mark Zuckerberg at the top of its annual list of 100 worldwide influencers that year (affectionately named “The New Establishment”), the publication apparently struggled to justify the choice. While that seven-year growth is staggering, what’s actually uncanny is how markedly the way we discuss Facebook has changed since 2010. When David Fincher’s Oscar-winning movie The Social Network hit screens in 2010, Facebook had 500 million users and a valuation of $25 billion - facts which appear on the film’s closing slides, along with the information that Mark Zuckerberg had recently been minted as the world’s youngest billionaire.Īs of the end of last year, the company’s own statistics claim it has 1.86 billion active users. Have they gotten better like a fine wine, or are we drinking cork?
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