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When we last saw him in The Social Network<\/em>, Facebook (co)founder Mark Zuckerberg could be seen sitting alone in a legal office, repeatedly clicking refresh to see if his ex-girlfriend had accepted his friend request. If you were expecting The Social Reckoning<\/em> (same writer: Aaron Sorkin; different director: Aaron Sorkin) to follow that difficult-but-fascinating guy\u2019s two-decade journey\/moral erosion from a lonely, youthful tech whizz to an embattled \u201cfree-speech absolutist\u201d, then we\u2019re afraid you\u2019re on the wrong site. Despite sharing a writer, two words in the title and one key character (no longer played by Jesse Eisenberg), this isn\u2019t strictly a sequel to David Fincher\u2019s 2010 movie.<\/p>\n <\/span><\/p>\n <\/p>\n Sorkin\u2019s main subject here is not Zuckerberg. He\u2019s now the antagonistic corporate Goliath with little screentime but big scenes (ably handled by Eisenberg\u2019s nasal, buttoned-up understudy Jeremy Strong), in a fresh drama that is less about litigation than investigative political journalism. While there\u2019s a welcome seam of valuing old media and slow news, embodied by a likeably unflappable Jeremy Allen White as reporter Jeff Horwitz, the focus is on Mikey Madison\u2019s Frances Haugen, the employee who blows the whistle.<\/p>\n <\/span><\/p>\n Mikey Madison remains brilliantly brittle-yet-empathic throughout<\/p>\n<\/blockquote>\n<\/div>\n<\/div>\n <\/p>\n Similar to Zuckerberg in The Social Network<\/em>\u2019s early scenes, she\u2019s initially presented as an awkward, often abrasive outsider in a brash and problematic community (the Silicon Valley offices of Facebook subbing for the halls of Harvard). Haugen is a woman on a mission: to address the way Facebook\u2019s algorithm lures users into extremist groups \u2014 not to mention Instagram\u2019s impact on the mental health of young women. And it\u2019s a mission that irritates her co-workers and superiors, who dub her a \u201cCassandra\u201d.<\/p>\n <\/span><\/p>\n But unlike Zuckerberg, her alienation doesn\u2019t result in an act of vengeance. As the consequences of Facebook\u2019s policies become horrifically apparent in the Capitol insurrection of January 6, 2021 (partially recreated by Sorkin, though not to the extent he re-staged the 1968 riot in The Trial Of The Chicago 7<\/em>), Haugen\u2019s uneasy conscience blossoms into selfless heroism. Madison remains brilliantly brittle-yet-empathic throughout, and particularly shines in her ping-pong banter with White.<\/p>\n <\/span><\/p>\n As you\u2019d expect from Sorkin, this is a dialogue-rich environment, salted with wit, snark and the kind of lines nobody would ever say but we all wish we could. Where the film suffers slightly is in visual and stylistic comparison with its Fincher-programmed predecessor; lacking that director\u2019s verve (not to mention the scoring genius of Trent Reznor and Atticus Ross), it feels a touch less exciting and somehow smaller, despite its much higher stakes. However, the material is what really matters here, and in the hands of a solid cast, it still makes for a compelling new chapter in a timely story.<\/p>\n <\/span><\/div>\n Even if you miss Fincher\u2019s style, Sorkin\u2019s witty storytelling is enough to keep you fully engaged with a recent-events-based story that takes aim at Zuckerberg\u2019s not-so-pretty hate machine.<\/p>\n","protected":false},"excerpt":{"rendered":" Concerned by her company\u2019s amplification of outrage and political extremism, Facebook data engineer Frances Haugen (Mikey Madison) becomes a whistleblower for Wall Street Journal investigative reporter Jeff Horwitz (Jeremy Allen White). When we last saw him in The Social Network, Facebook (co)founder Mark Zuckerberg could be seen sitting alone in a legal office, repeatedly clicking […]<\/p>\n","protected":false},"author":1,"featured_media":15130,"comment_status":"open","ping_status":"closed","sticky":false,"template":"Default","format":"standard","meta":{"footnotes":""},"categories":[47],"tags":[],"class_list":["post-15129","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-47"],"_links":{"self":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/posts\/15129","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/comments?post=15129"}],"version-history":[{"count":1,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/posts\/15129\/revisions"}],"predecessor-version":[{"id":15131,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/posts\/15129\/revisions\/15131"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/media\/15130"}],"wp:attachment":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/media?parent=15129"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/categories?post=15129"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/tags?post=15129"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"The](\"https:\/\/imdbnews.ir\/wp-content\/uploads\/2026\/10\/the-social-reckoning.jpg\")
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