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The Social Network poster

The Social Network

year 2010decade 10sdirector David Finchergenre Dramagenre Biography

120 minutes

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Cast

Selected cast credits · Film reference

Jesse Eisenberg Mark Zuckerberg
Andrew Garfield Eduardo Saverin
Justin Timberlake Sean Parker
Armie Hammer Cameron and Tyler Winklevoss
Max Minghella Divya Narendra
Brenda Song Christy Lee
Rashida Jones Marylin Delpy
Denise Grayson Gretchen

The Social Network | The Rewatchables

host Bill Simmonshost Sean Fennesseyhost Chris Ryan
Explore episodeClose episode

Producer credits not yet identified.

Most Rewatchable Scene

Eduardo discovering his diluted shares

In the discussion (10)
Approx. transcript time · 00:21:14Read transcript
  • The opening breakup is nominated, and later becomes one participant’s initial personal choice.
  • Stopwatch timing of the dialogue and 99 takes of the opening are discussed.
  • The Henley Royal Regatta sequence is nominated.
  • Sean Parker meeting the Stanford student is nominated.
  • Eduardo discovering his diluted shares and breaking the computer is nominated; the closing decision defers to that group preference.
  • Larry Summers dismissing the Winklevoss complaint is nominated.
  • The final-club party intercut with coding Facebook is nominated.
  • The confrontation gains emotional force from the score and Garfield’s movement through the glass doors and hallway.
  • The coding montage contrasts access to power with creating power, making work at computers feel like a bank heist.
  • The Parker introduction turns exposition into a star-making scene, with added irony from a major-label pop star playing the Napster figure.

What’s Aged the Best?

The opening, depositions, twin effects, score, and Peter Thiel foreshadowing

In the discussion (12)
Approx. transcript time · 00:32:05Read transcript
  • The opening scene flowing into Zuckerberg’s walk and credits is praised.
  • The deposition structure works better than expected.
  • The lawyer’s facial expressions are praised.
  • Rashida Jones is praised within an underwritten part.
  • The twin CGI is praised as groundbreaking and initially undetectable.
  • Trent Reznor and Atticus Ross’s score is selected as the standout aged-best element.
  • The score’s combination of anxiety, melody, and forward pressure is praised.
  • The panel trusts Reznor not to license the score carelessly.
  • The Winklevoss effect is again selected for technical longevity.
  • The Peter Thiel character’s arrival is treated as predictive of Silicon Valley’s future.
  • A reported filming workaround used a mime carrying a light so an archway shot could be captured despite Harvard’s resistance.
  • A reported silent black-and-white Raiders cut uses this score to demonstrate the strength of its visual storytelling.

What’s Aged the Worst?

The Zuckerberg portrayal, Facemash, Christy plot, and Kevin Spacey credit

In the discussion (6)
Approx. transcript time · 00:40:17Read transcript
  • Eisenberg’s Zuckerberg is compared with the real Zuckerberg’s public persona.
  • Ranking girls with a hot-or-not app has aged badly and was objectionable at the time.
  • The Christy relationship and bed-fire plot are criticized as poorly motivated.
  • The panel ties the Christy problem to Sorkin’s thin female characters.
  • Executive producer Kevin Spacey’s credit is singled out.
  • Christy is defended as showing the founders newfound glamour and introducing Parker, though that does not justify the bed-fire episode.

Apex Mountain

Jesse Eisenberg: yes; Zuckerberg’s likability: around this film or 2015

In the discussion (9)
Approx. transcript time · 00:49:48Read transcript
  • Jesse Eisenberg is judged at his apex.
  • Fincher is rejected by two speakers, who suggest a future peak or prefer Seven; another makes the case for this movie.
  • Aaron Sorkin is judged below his West Wing apex despite winning an Oscar here.
  • Andrew Garfield’s apex remains unresolved.
  • Justin Timberlake’s musical and comedy peaks are favored over this film.
  • Zuckerberg’s likability apex is placed around the film or 2015.
  • Armie Hammer’s Call Me by Your Name period is proposed as his apex.
  • Zodiac is called Fincher’s masterpiece, while Gone Girl is also admired and the difficulty of locating a career dip is discussed.
  • Fincher reportedly insisted on a forty-one-million-dollar budget despite lower studio counteroffers.

Is This Movie Better With…?

No Danny Trejo addition

In the discussion (5)
Approx. transcript time · 00:56:32Read transcript
  • The panel runs Better With Danny Trejo as its own named question.
  • Trejo as Peter Thiel is proposed jokingly.
  • Trejo as a security guard is proposed.
  • Trejo as Eduardo is imagined and rejected because it changes the threat level.
  • Trejo is jokingly proposed for the Stanford student’s role or the arresting cop.

The Ruffalo / Hanna / Rubinek / Partridge Overacting Award

In the discussion (6)
Approx. transcript time · 01:06:10Read transcript
  • Andrew Garfield is nominated.
  • Timberlake’s sushi-restaurant delivery is nominated.
  • The panel argues Timberlake remains visibly Timberlake rather than disappearing into Parker.
  • Earlier versions of Leo, Pacino and Hoffman are imagined in the roles.
  • Timberlake is selected.
  • The real Parker is defended as slick, cheesy and performative, making Timberlake a fitting choice despite criticism of his acting.

Sequel, Prequel, Limited Series, or All-Black Remake

The contained film preferred over a modern Netflix or HBO series

In the discussion (3)
Approx. transcript time · 01:09:05Read transcript
  • The movie is used as an example of a studio drama that might now become a streaming series.
  • The panel prefers the contained movie form.
  • Fincher’s move toward television is discussed.

Who Won the Movie?

Aaron Sorkin

In the discussion (6)
Approx. transcript time · 01:10:19Read transcript
  • Fincher, Sorkin, Eisenberg, Garfield and Timberlake are the opening nominees.
  • The dialogue is described as the hero and architecture of the film, with conversations mirroring its interwoven depositions.
  • Exposition and quotability sustain rewatchability throughout, leading to the first Sorkin choice.
  • The screenplay, editing and score work together, supporting a second explicit Sorkin choice.
  • A third speaker also chooses Sorkin, while emphasizing how essential Eisenberg is to the movie.
  • Eisenberg makes a difficult, unlikable character compelling without resorting to cartoon villainy.
Podcast choices
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Aaron Sorkin
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Aaron Sorkin
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Aaron Sorkin