In Retrospect: Prada Suits, Lawsuits, and the Big Blue Thumb

Some said it’s a satire of American college culture, others branded it a tale of two scorned lovers— no matter the debate, The Social Network’s release in 2010 marked both the end of the Aughts and the consolidation of a new age: the social media age, where connections become palpable not through handshakes but the click of a button behind polarized glass. The floodgates of communicative possibilities opened with Facebook’s creation— wider networks, more diverse features for engagement between users, and greater accessibility to online profiling (sans the technical difficulties and safety concerns that plagued counterparts MySpace and Friendster) — but such towering benefits did not come without equally high stakes. With each press of the enter key, trillions of digital gears carry on their churning in discretion, setting the information economy into motion every day and often against our inclinations. Even a decade since its premiere, it would seem that Aaron Sorkin’s biographical drama continues to haunt discourse on the ethics of information technology, leaving audiences reeling with questions about a cinematic reality too close for comfort. Amidst Andrew Garfield’s iconic monologue as Facebook co-founder Eduardo Saverin, tension-ridden depositions in a conference room, and the comical portrayals of life at Harvard, a looming presence remains— the big blue thumb and, perhaps more specifically, its implications as we move into the heart of a digital revolution. 

“We lived on farms, and then we lived in cities, and now we’re going to live on the Internet,” claims Napster founder Sean Parker (Justin Timberlake) towards the film’s ending. Though seemingly a bold prophecy to make, a glance around our surroundings proves Parker’s prediction to be strikingly accurate— social media has proliferated all domains of everyday life, forming deep entanglements with business, political, and cultural industries that shape our dynamic with institutions of power. From its initial configuration to current conglomeration, Facebook, Inc., now rebranded as Meta, prevails at the forefront of this “critical juncture” powered by communications and media technology. The company has come a long way since its conception as a niche player catering to curious college students; beginning with the introduction of tagging, like buttons, and algorithmically customized feeds, then the acquisition of subsequently launched products such as Instagram, Meta maintains its role in facilitating the latest trends for public discourse across all demographics. Although other industry giants have emerged over time, their designs have always shadowed Zuckerberg’s vision— a reality that straddles the line between the virtual and tangible. Personal communication becomes not the but an objective underlying the mechanisms of social media, a part of a larger system that oversees business opportunities, Internet activism, and even breaking news. Such tremendous growth has been received with equal marvel and skepticism; after all, the innovative quality of revolutionary technologies often come hand in hand with a capricious nature, and it is through texts such as The Social Network that we see close contemplation over their effects. 

Another ominous statement by Parker strikes mid-way through The Social Network: “Private behavior is a relic of a time gone by,” he explains to an intrigued Zuckerberg (Jesse Eisenberg). In its fledgling days, Facebook’s winning edge over then competitors fell upon its navigable interface and strict profile regulations. While MySpace suffered a withering reputation— owing to excessive advertisement and unaddressed issues such as phishing — Facebook was seen as an alternative which boasted communication features of increased efficiency and safety. Yet Parker’s assertion of privacy as a myth, as well as Facebook and Meta’s accumulation of controversies over the years, all seem to point otherwise. Privacy breaches in the app were first reported by The Wall Street Journal in 2010, raising questions over information leakage and brand ethics. In 2019, the company found itself accountable for a five-billion-dollar fine over violations of user privacy. Four months later, leaked internal documents revealed similar problems of unconsented access to user information and ill-defined changes in data policies. As Meta continues to center resources on the development of its own virtual world, the highly debated metaverse, these concerns become all the more urgent to confront and consider. We see public reception of the project largely tilting towards distrust, as the infiltration of virtual technology implies an increase of sensors in the home and workplace— with little measures to counter unwarranted data collection. Additionally, fear over the metaverse’s impact on mass communication has yet to be placated. In a time where misinformation can be spread with the press of a finger, fueling polarization within and across borders, it is wise to approach a technological concept such as the metaverse with suitable caution. Equal gravity must therefore be given to both the benefits and stakes which may arise from fully adopting VR technology, whether it be for healthcare, educational, business sectors or more.

Although critically acclaimed and well-received by audiences upon release, The Social Network did not escape scathe from the real-life subjects it depicts. Eisenberg’s portrayal of Zuckerberg as a callous and arrogant figure, in particular, garnered criticism from the Facebook founder himself. “They just kind of made up a bunch of stuff that I found kind of hurtful,” said Zuckerberg in a 2014 Q&A session. Similarly, Garfield’s sympathetic rendering of Saverin notably strayed from accounts of Facebook’s early alterations in ownership, as Saverin faced accusations of jeopardizing the company’s finance in his neglect of duties. Nevertheless, the image of an uncongenial Zuckerberg has long ingrained itself deep into the world, sprouting Internet theories which include the tech billionaire as a lizard bent on destroying democracy. Far-fetched as these speculations may be, they also reveal an enduring public disdain extending to those imbued with alarming socio-economic authority, as figures like Tesla CEO Elon Musk and Amazon founder Jeff Bezos find themselves bearing the same brunt of such aversion. Questions of work ethic are undoubtedly called into question, but so are the systems and policies in place that have enabled these individuals’ success with far and few repercussions. Would  Sorkin’s harsh adaptation then be an unjustified take, or can we look towards The Social Network as an embellishment of some dire truths? After all, Facebook was first conceived as a platform to compare people with farm animals.

As we venture into a new decade, the interrelation between social media and how we orient ourselves to the world will deepen without doubt, as will our grapple with the benefits and setbacks of an increasingly digitized reality. In this sense, revisiting The Social Network in 2022 feels both alien and familiar, a testimony to the complex development of all groundbreaking inventions that alter means of human connection. Above all, Sorkin’s work reminds us that, as users of technology, we are not exempt from their entailed responsibilities and impacts; times of progression demand constant vigilance and reflection to persist. Ultimately, we must recognize that the future of media and communication depends not only on a big blue thumb, but the corporal ones of many as well—ours.