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“When Harvard student Mark Zuckerberg creates a social networking site with his friends, he is sued by both the co-founders of the company and his best friend.”
Citizen Kane meets Wall Street — a portrait of ambition that dismantles the myth of the lone genius while building the architecture of modern loneliness. The protagonist gets everything he wanted and loses the only thing that mattered.
We open on a breakup. Mark Zuckerberg gets dumped by his girlfriend Erica Albright at a Harvard bar. He walks back to his dorm, blogs viciously about her, and in a white-hot coding session, creates Facemash — a site that crashes the Harvard network by dawn. This act of vindictive brilliance attracts the Winklevoss twins, who hire him to build a social network for Harvard. Instead, Mark builds Facebook. Two lawsuits frame the story — the Winklevosses and Eduardo Saverin, his best friend and co-founder — told through deposition testimony intercutting with the events themselves. Eduardo is diluted out of the company when Sean Parker, Napster's flashy co-founder, seduces Mark with the promise of Silicon Valley scale. The film ends where it began: Mark alone, refreshing Erica's Facebook page. He has 500 million friends.
Sorkin's opening 9-page breakup scene establishes Mark's entire psychology — his intelligence as weapon, his loneliness as wound — without a single line of exposition. Every scene in the film does double and triple duty: advancing plot, revealing character, and establishing theme simultaneously.
The deposition framing device is a masterstroke. By intercutting past and present, the script creates dramatic irony at every beat — we watch Mark burn bridges while already knowing the legal consequences. The cold legal room amplifies the warmth of the founding scenes. Loss is built into the architecture.
What makes this script exceptional is that Mark is genuinely hard to root for — and yet you can't look away. The script never softens him into sympathy or hardens him into villain. He's a person-shaped wound wearing a genius costume. That ambiguity is extraordinarily difficult to sustain across 162 pages.
Eduardo Saverin is given the emotional center of the story but limited plot agency after Act One. He reacts more than he acts. The script would sharpen if Eduardo had a scene where he makes a consequential mistake of his own — rather than simply being wronged.
Female characters exist primarily as mirrors for male behavior. Even the sharpest female line — Erica's final takedown — functions as a coda that validates Mark's arc rather than complicating it. A structural issue, not a line-level one.
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