The Reel Rejects - THE SOCIAL NETWORK REVIEW – MARK ZUCKERBERG IS STONE COLD! - FIRST TIME WATCH

Episode Date: October 4, 2026

YOU DON’T GET TO 500 MILLION FRIENDS WITHOUT MAKING A FEW ENEMIES! John Humphrey and Jackie Bonsignore watch The Social Network (2010) in this full movie reaction and review ahead of Aaron Sorkin��s The Social Reckoning. Directed by David Fincher and written by Sorkin, the acclaimed Facebook drama follows Mark Zuckerberg, Eduardo Saverin, Sean Parker, and the Winklevoss twins through the creation of a revolutionary website—and the betrayals, lawsuits, and broken friendships that followed. John & Jackie react to the brutal opening breakup, Mark’s rapid-fire depositions, Sean Parker’s “a billion dollars” speech, the Henley Royal Regatta, Eduardo’s explosive confrontation, and the haunting final friend-request scene. The Social Network Full Movie Reaction Watch Along:   / thereelrejects   Directed by David Fincher (Fight Club, Gone Girl) and written by Aaron Sorkin (Steve Jobs, A Few Good Men), The Social Network stars Jesse Eisenberg as Mark Zuckerberg (Zombieland, Now You See Me), Andrew Garfield as Eduardo Saverin (The Amazing Spider-Man, Hacksaw Ridge), Justin Timberlake as Sean Parker (Inside Llewyn Davis, Trolls), Rooney Mara as Erica Albright (The Girl with the Dragon Tattoo, Carol), Armie Hammer as Cameron and Tyler Winklevoss (Call Me by Your Name, The Man from U.N.C.L.E.), and Max Minghella as Divya Narendra (The Handmaid’s Tale, Babylon). John and Jackie discuss Fincher’s precise direction, Sorkin’s razor-sharp dialogue, Trent Reznor and Atticus Ross’ Oscar-winning score, Jesse Eisenberg and Andrew Garfield’s performances, the movie’s interpretation of Facebook’s founding, and whether The Social Network remains one of the defining films of the 2010s. They also look ahead to The Social Reckoning, Aaron Sorkin’s companion film starring Jeremy Strong as Mark Zuckerberg, Mikey Madison as Facebook whistleblower Frances Haugen, and Jeremy Allen White as Wall Street Journal reporter Jeff Horwitz. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jackie, you know, a million dollars isn't cool. You know what's cool? What? A billion likes on this video. That's right. Swear it up in the first 30 seconds. See what happens. Who knows?

Anyway, hi, we're Jackie and this is John. We're Jockey and this is John. I've found some of our backup files labeled as Jonkey, so I guess we're Junkie now. I feel pretty Junkie when I'm with you, babe. That's great. The feeling is mutual. We haven't been on a video together in a while. spent a hot minute. It's been since disclosure day.

The favorite, everyone's favorite film. Everyone's favorite film. And, I mean, what better way to disclose things about your day than through the Facebook because we're watching the social network. Ain't that just the way? Because the social reckoning is coming down the pike and pretty soon we're going to have to think about all new shades of suck. Are you excited?

I am excited. I like can't believe that I've never watched this. Okay. This will be fresh. Yeah, because it's supposed to. to be very, is the reckoning a direct sequel? It's been called a companion piece. A companion piece.

It's continuing the life and times of Mark Zucker book, so, you know, I assume it you could call it a sequel. I just seen that one clip of Andrew Garfield a bunch of times. Oh, sure. The people meme. Yeah. I saw this like way back when it came out, and I, this is the kind of movie where after that long, I'm sure I don't remember any of it, except for that one thing Justin Timberlake

says that I quoted a minute ago. And the fact that we're in for some Trent, Resner, and Atticus Ross. A movie that like put him on the map is as scoredoers, not obviously 9-inch net. Anyway, let's watch them. Anyways. That's Labat. Nice, gang. Oh, my God.

All your money in a big brown bag inside a zoo. Okay, sorry. No, I love it. Let's get demonetized. Gang, we just completed our doom scroll through the social network. If you made it to this point in the video, thank you for embarking on this. journey with us. If you could leave a like. Like it. Leave a like.

Poke us on our wall. Sorry. And also if you want to get notified, whenever another, you know, hot, piping, fresh video reaction movie. Send us your email. We'll send you a link to the site. Just kidding. Yeah, yeah, yeah. We'll post it on your wall. But if you don't want to wait for that to happen, you could subscribe to the channel, hit that notification bell to be notified when these videos head your way. Maybe if it does well enough,

we might even watch the Social Reckoning. Maybe. Who knows? Who knows? We'll see how that at fairs at the global box office. See, I'm making... But if you want to see everything, that doesn't make these reaction highlights, if you want to get the full and complete social network experience alongside Jackie and myself...

I wonder what they're going to cut out that I said. You can find out. For this one, I'd go over to the Patreon. Patreon.com slash the Real Rejects. There you can, you know, do the full-length watch-along version. You can also get a glimpse at our shooting and posting schedule throughout the week. You can ask us the questions that will help shape this conversation, post the movie.

Yeah, you can get on and you can feverishly type and sip an energy drink and do some cocaine. Then you can throw glass beer bottles together. Yeah, yeah, and everyone. And you can also save yourself a discount on some teas like these at rejectnation shop. Not this one, sorry, this is threatened. No, we don't sell that shirt at rejectionshop.com, even though I wish we did. It's a nice shirt. Thank you.

You're welcome. Jackie, how are you feeling? This seemed like a really fun time for you. You seem like you really identified and, you know, got a lot of emotional catharsis from the experiences of all the characters on screen. It's a fantastic film. Like, I know that I had, it is, no, it is a fantastic film. I know that I called out a lot of the shortcomings.

It's hard not to because it did just, I mean, so much of it is kind of a close look on one of our biggest billionaires and like how the business works. But also so much of it is like a commentary. I mean, them using that Beatles song at the end of it. It's like, yeah, you have all this, but what are you happy? What else do you have? You've alienated every single person in your life, you know? And something that is really just sticking with me is that final line by Rashida where she's like, you're not an asshole, you're just trying really hard to be one.

And what I love about that is that it takes all of the responsibility for his actions and it puts it right back on him. It kind of like erases this idea by reinstating that you can be a good person and you can choose to lead with empathy and love. You can choose to be a human about this. You can choose to be a human about things and it puts all the responsibility on him of like, you're choosing to be a fucking dick. You know? Yeah. No, absolutely. I mean, part of the question of the movie is sort of like, can this guy help himself?

What does he actually care about? Does he actually care about anything? Well, because at the end, what was it all about? The fact that it ends with him going back to the girlfriend. And maybe he's just upset that he lost her. And that's how all of this happened. And then he just channeled all of that rage into, yes, productivity. And yes, it turned out for him.

And yes, he's a billionaire. But you can have all the money in the world. And it's lonely at the top. And it's lonely at the top. Especially if you do everything. fucking prick to make it as lonely as possible at the top. And you don't change. Like he never ever fixed the main issue at the very opening scene with Rooney where he's a

fucking asshole. Like he's not, you know, special thanks to Giorgio Armani. Thank him. And the state of California. Thank him. And the Commonwealth of Massachusetts.

Thank him. The Commonwealth. No, yeah. I mean, this absolutely is an interesting character portrait. And of course it's a movie that, you know, is obviously kind of drawn.

some of its own, or at least suggesting some of its own conclusions. But yeah, I like that we start on this dizzying conversation, setting up just the wall that exists between, at least Mark as this character and everybody else in the way that, yeah, he seems to view people as instruments, as tools and as, yeah, like transitory items rather than actual souls to connect to, not to put it in a woo-woo sense, but, you know, yeah. But put it, make a woo-w-w-w-w-w-thing. thing is about, yeah, like utility

and capital. Are you useful to me or are you not? Exactly. And so positing like, yeah, obviously he gets these like rushes of power and he does like to thumb his nose at authority and all that other stuff. But also there's like an emptiness. I'm just like, what emptiness?

What void are you trying to fill? It's so easy, yes. And it's so easy to hide like to, instead of looking in the mirror at what you're unhappy with in your life, in yourself, it's easy to just throw a blanket over it and the blanket being like productivity and feeling like oh i'm reaching the next goal and the next goal post and you know yeah and wait i had one other thing um everyone wait everybody wait everyone

wait i know a bunch of people in the comments are probably going to go he's not being a dick to her in the first scene on the date like like he's just so smart and his brain just works so fast and it's like i also have ADHD so a lot of times i will just change the subject in the middle of my conversations with my friends and yeah the thought train makes a lot of sense to me but they'll go wait jacky babe like where did you where did you just jump and i'm like oh wait i'm so sorry well and it's the way that i'm not mad at them my brain just works different that's okay like but it doesn't mean that i'm like he's just an assholes he's talking at and past her yeah and then at a certain point when he realizes like oh you know i'm not in my zone of comfort i don't just have my i don't

dominion but like you know this person is no longer you know looking at yeah Looking at me with any admiration, this person is no longer sort of flying around my fire, so to speak. This isn't a moth to my flame anymore. They're about to leave. And now the consequences are real. And oh, shit, I might have to actually think about that for a hot second. But also, we see as he just kind of builds more and more means and reasons not to have to think about consequence ever because, you know, he's constantly, yeah, doing these things that are unprecedented. And he is making or at least contributing to making these major technological.

leaps, which in isolation, aside from all the human elements, you know, are notable. But at the same time, I like the way this movie uses the margins. It's like, yeah, it's a movie. So obviously, it's going to have its own ideas about the emotional truth underneath everybody. But I like the way that this took what I would imagine are verifiably, at least somewhat verifiably, like the facts of things. And then they allow you to imagine and wonder about the margins underneath. And some of that is suggested in performance. But yeah, you get to kind of sit back and ponder like, yeah, is there anybody who would get through to this person?

Does anyone truly matter to this person? Is this, you know, does Mark have, they make this point about like you have nobody, really, who like truly has a human connection with you? Yeah. And what is that, you know? And do you want that? And it seems like deep down the movie seems to think that there's someone in there who maybe wants that because maybe all of this, you know, it's not an untold story that. somebody with, you know, a real shrewd mind and also a real kind of isolation can then take that and make huge impacts on the world at large.

But oftentimes those people at the top are, you know, sort of, you know, unable then to keep touch with reality, humanity, and more specifically, like the people in their world, but even beyond that, yeah, just like general, I don't know, your whole big picture thing becomes vacuous because you're, you know, so convinced of your own ingenuity and your own brilliance and all that stuff. Yeah. I mean, so many of the characters, specifically the female characters, were surface level, but that's not my point. What was really, really highlighted to me was where all of Andrew Garfield's choices and just how much he really, like, in the scene where he breaks the laptop, it was so

cathartic and then all of the trial scenes, he is completely devastated. And I love just his performance really showing that, hey, there are real life consequences to be to your behavior, you know? Well, and that's so sad. Those moments too where they're like looking across the table at each other and it's like the council is all having one version of this conversation.

They're having conversations with their vibes and their eyes. and stuff like that. And there's a lot of really fun acting work that you can extrapolate from along with the really, you know, rhythmic, dense writing. And then then you have the beautiful sort of visual style, this very patient but very deliberate look of the movie, this music that's always bubbling and percolating

and is momentous and it's in the world of computers, but it also has these elements like when they pull Hollow the Mountain King that's like this is a classical piece of music. So we're kind of... That was a really fun suit. Yeah, absolutely. And, like, we're in... And that got pulled a lot, I feel like, during Oscar time for, like,

when we're showing a clip from the movie, like, they showed a lot from that sequence. But, yeah, like, this has a lot of style and it, like, moves and is, like, dizzying. And it's, like, a little much to kind of hold in mind all at once. But it's, like, the emotional qualities make it so that, like, even if you're not following the nitty-gritty of, like, whatever tech jargon they're talking about, you still get what's going on. Yeah. And we got a heck of a lot of questions for this. so I feel like we should just dive on in.

Captain Fernandez is up first. All right, Caputant, kicking us off and blow this up a little bit more. There we go. This is one of my favorite movies, and it's certainly one of Fincher's best. I can see why, and I would agree of the Finchers I've seen. This flew by. That being said, my God, is it filled with some of the most loathsome characters imaginable? Who is more hateable?

Zuck, Sean Parker, or the Winklevoss Twins? Oh, Winklevoss Twinsgo at the bottom of this list. Yeah, I'm like, they didn't bother me that much. Like, yeah, they're a little like, like, so preppy like that, you know, daddy's money. But also like, at least they had something that they, at least they had something that they stood for. They tried to stand for and then, yeah. Some code of morals or something, you know. In the context of this way, way, like a few spots below these two.

I mean, Sean Barker's just like a real piece of work. But I think where why I rank. Zuckerberg is like the worst of the worst is because he thought that he was better than anyone else, but also still didn't see that he was getting completely played just like he played everyone else. And that's embarrassing. I don't know who to put his worst because in some ways I feel like Sean Parker is worse because he's like the devil who pulls Mark even further down. And he was like trying to sleep with underage interns and you know all sorts of creepy bad stand like paranoid and like when you see in those and again just in the world of the movie.

In those moments where like shit actually gets real. Yeah, allegedly. When Shigah is real, you see, like, yeah, the child that this man is. And, uh, and, uh, and yeah, he's, like there are times, again, props to Tim. We're like there, props to everybody. All, all these characters are practically, like you said, unflattering to say the least. But yeah, I don't know. Sean Parker is, is like.

Andrew Garfield's character was great. Yeah, he was good. I really liked him. I was with him. If there's anybody who you can like get behind in this movie. Yeah. They're the most sympathetic characters. I got the two there.

easily on screen. But yeah, like, I wonder if Zuck would have been quite as horrible had Sean Parker not come in. You know, there's every, like, because of where things go. If it wasn't Sean, it was going to be someone else. That's the thing. That's fair. It did seem like his intent was always to, like, if somebody in a Sean Parker position was to come along, like that's always where he's headed, not in the direction that Eduardo wanted to head.

No, I mean, he showed us from the beginning with, you know, I don't know if I want to say stealing, allegedly, that IP from the twins. Like, we saw his character from the beginning. He was going to abandon Eduardo, I think, from the beginning because he was always jealous. Yeah. And both these guys are sad. And, like, I don't know. I don't like Zuckerberg seems like a more capable, competent coder.

So maybe that. But I don't know. Either way, Zucker, Sean Parker are so close in my mind. I know. They're like, they both suck. They both suck. All right, next question. Take it away. Cody Price.

Cody Price says, hi, John and Jackie. Hi, Cody. Hi, Cody. I love this film, and it is my favorite screenwriters, Aaron Sorkin's Academy Award-winning screenplay. I also love that last line of the film. But just curious, in your own personal opinion, do you think film version of Mark Zuckerberg in just this film is an asshole?

Or do you think that he is just trying so hard to be? I mean, I think it's both, but I get what she's saying. It's like they're, it's like you try so hard to put yourself in the position as if you are this, you're the center of the attention. You are the cool guy. You know, if people don't like you or they don't agree with you, they, it's the problem is with them. And yeah, I mean, the more he tries to be, the more it comes true. It's like, I guess because of the movie gives him this thing of like, oh, there's someone sad insider just wants to connect. Then I can, yeah, from that perspective.

I can see how, yeah, you are trying to be because you think that's how to get these things done and you don't value people enough to not consider that. Yeah. You know? I feel like I'm almost interpreting that question in that line in a very different way that maybe wasn't even the intended way. But I'm hearing it more as, well, I'm on the Halloween series right now. It's kind of like, is Michael Myers evil or is he choosing to be evil, you know? Is he immoral or amoral?

Yeah. Is he immoral or immoral? And I just think that saying that somebody just is. an asshole kind of takes away accountability because I really do believe that every single thing that he does is a fucking choice and I think that he's he should know better he isn't it's nature versus nurture I don't know I don't think it's his nature I think he's choosing be a fucking ass yeah it's like I feel like he he he he is I really cussed a lot this one no it's good it's a movie worth getting charged up about and I think it is both it's like it's a movie this is like watching breaking bad or

something this movie full of points of no return and people just blow through these points of no return And multiple points you're like, you could end this madness or at least rain it in or at least stop and consider some things. And it feels like they're doing it on purpose. You're like, you know. Like, why are you? And there's, yeah, there's so much backbiting and manipulation and all sorts of stuff. Like, why was he nice to him on the phone? And then he's like, you got to come out for the party.

Also surprise. Well, and he does seem like a bit of sociopath. He seems like somebody who, yeah, will. It makes me, it seems like a person who can't help themselves. and I think what's fun about the performance is you see these moments and you're like, is Mark choosing, like that phone call starts and, you know, we have that like my company. And then Eduardo says something about our company. And then the thing ends when he's finally like, you got to come out to the party.

We got to celebrate Facebook, you know, and so like the eye and the we. And it's just to get him to the fucking thing to sign the fucking contract. That is the function. And it makes me wonder in those moments whether the character is supposed to be thinking that they're feeling this in earnest or if it is. all literally a performance on behalf of this character. If Mark is literally going, well, I got to smooth this over and get him back out here. So this is how I'm going to play it versus.

Anyone that's that smart knows exactly what they're doing. I'm not going to, I'm not going to fall for this weaponized incompetence. A lot of people love to rely on that. No. Fuck you. It's your choice. Yeah. Sorry.

No, no, no. Sorry, guys. I'm just so nice and bubbly. Ha-ha. Well, and in a situation like this with so many other things, like you know that even if you want to bring that into the conversation, there are too much. many choices. This is a mountain of choices and a big percentage of them were made in full knowing of all the implications. But yeah, I'd love to hear your guys' thoughts on that. Vincent Cole,

hi John and Jackie. Hello to you, Vincent. What do you think of the portrayal of Mark Zuckerbook? I'm thinking a lot. I know you're thanking a lot. I know you might not know that much about how he acts in real life. I definitely don't. But do you think that portrayal was accurate? or more dramatized for the purpose of the movie. It's, it's, I think that the movie kind of makes him, I think it's a kind portrayal. It's weird, man.

I wouldn't be flattered by this. And I mean, like, the few times I've seen him in public, either giving a presentation or talking. Have you seen those, like, videos of him just like sitting? Yes, yes, I have. The Zuck. I mean, this isn't a one-to-one to how he acts in real life. I mean, he's got kind of a,

chill guy vibe these days. But, um, I mean, at some points in the movie, he was actually almost likable. So I think it was a very kind patrol. Sure. I mean, you know, he's more, he comes across in this movie as a bit more like overbearing than I'm used to. Like, not a, no chill, like a guy who seems like he's always calculating and he doesn't really, uh, I don't know. He almost feels like he could be on the spectrum in a movie like this just because he doesn't

seem to like jive with everybody else's social norms and he doesn't seem to like, to be like very aware at times sometimes he's very seemingly in control of when he is being snippy or backhanded and then other times it seems like just kind of how he is um so i think it was it was fascinated like i think jesse isenberg did a great job whether or not it matches the real guy i think he drew a compelling character who could really contend the thing is sorkin's dialogue i don't really associate with like how mark suckerberg generally speaks in again public-facing scenarios. It's not like this whip crack dizzying thing. But yeah, I mean, it felt true to all the things happening. It's hard to, I don't, yeah, I don't really observe the real Zuck for like

mannerisms very often. So it's like I have the basic familiarity, but a very compelling performance and very rich with details. I would say. But leave us your thoughts. Carebear asks, hi, double J. Hey. Hi. Hi. Director David Fincher is famous slash infamous for having an extremely demanding filming style. In order to get the exact timing he wanted for S.N.'s opening scene, he made actors Jesse Eisenberg and Rooney Mara perform this six-minute shot over 90 times. God damn! Question.

Do you think Fincher's method is a sign of a greatuteur or film sets, the one place we seemingly allow a boss to make such insane demands? That's like 540 hours or more. I literally, can I just say I love that we're getting this question because I literally just wrapped a seven-day re-year. shoot for this film that was 16 hour back-to-back days that didn't need to be and I just got off an overnight

last night where I went to bed this morning at 7 and then I got up at 2 and I came here So I'm gonna have For a moment I thought you meant For this film I was like No no no no no wait for that This has been pressed into so many different editions For a film

I think that that's fucking evil And I think that people get away with way way too much on film sets because they're great Atteurs, I think that the industry has so much changing that needs to be done. And also just, just, okay, let's let's work it through. Let's say that he is actually a genius, okay? Then just say, like, you tried the scene 10 times. You've been working on it for like two, three out, six minutes.

You've been working on it for two hours. You call a fucking Audible and you go, okay, we're not getting this scene tonight. You know what? We're going to, I'm going to schedule a rehearsal with the actors this weekend. We'll work on it. And we're not going to make the crew sit there. and stay there for an insane amount. Like,

I don't think we should normalize shooting a six-minute scene over 90 times across cinema. This is one of those things. I don't know if, what am I trying to say? The chicken and the egg thing. Whichever one came first, I don't know if it should have come.

But, you know, this is a situation where people know how Fincher works and certain actors are probably like, sign me up. Also, if you're not, I mean, if you're, I don't know, as someone that has worked in the, like, a good director understands, it's not just about the, you want to be a creative director, but you need to also know how to manage time and budgets and everything else, you know, like, that's not good to write. Generally speaking, I don't think this is how things should go. I mean, you look at a movie like this and you go, wow, this has such precise rhythm.

So it's like I understand how all this effort pays off. the problem is again I don't think you should ever normalize this I think because this is how he works I don't know if I know some actors will be like please I want that experience and I don't think that's unfair but at the same time like I know people want to think

their Kubrick or now think they're David Fincher and work their actors to the bone and go no no it's because this one inflection wasn't right we had to do it's a billion trillion times I'm like it's basically like I mean he's kind of he's taking a lot of lessons from his main character in this film.

Sure. I guess what I'm trying to say is I mostly agree with you. I can't 100% say I wouldn't. It's like I look at this and it's like I can see where that work went and I can appreciate aspects of this. But by and large, I do think that's kind of a cruel and unusual process when we're all just getting together to make art that doesn't have to exist unless people really want to do that style.

Some people sign up for a project and they're like, give me that fucking experience. I hear you. And that's between them and their God. I hear you, but the pacing in this film is great, but six minutes out of like a near two-hour movie isn't going to like how different was Take 90 from Take 9? Is it really that difference? Would any, would it have like have lessened the impact and how great this film was overall? I don't think so.

And I guess I guess the theory becomes they went. until they got the one they knew was right because if you shot all 90 of those takes and then you went back and used take six or hell 20 then that is like absolutely fucking maddening we don't know we're not the editor as well and we'll never

know yeah so I can't say it didn't pay off for this movie I don't think it paid off for this movie I don't think that would pay off for any movie ever just like I don't think how Shelley Duval was treated in the filming of the Shining paid off for that film either. Like, I don't think that we should abuse people just under the guise of art.

No, I agree. You know? I totally agree. Yeah. I, I... As someone that's better be... No. And I mean, that is the thing. And it's an aide, it's a tail as old as time. Things that are gotten away with on set are people, it's weird. Like, a set place where because of the weird little unit you become, sometimes people are willing to go above and beyond. It's a freelance industry. It's built. It's set up so that you can't really say no and you have to push yourself to the bone and there's a reason why so many people die coming home from overnights on film sets because it's a toxic industry. Sorry guys, I'm really mad.

No, exactly. Like people, I don't begrudge anybody. Like, again, the atmosphere of something like this can inspire people to want to push their own boundaries. And I think that's cool. That's okay as long as you do it safely within reason. But it's not just the actors and the directors. It's the entire crew that's getting like the suffering for the sake of this.

one man who think you know sorry no no because like i can't like none of these things are to say that you're wrong really there are facets of this that i could like squint and go i i can see what's interesting to discuss about this but yeah by and large i don't think that this is how set should oh i haven't had a debate in the patreon questions too long we can't see what the cuts of other takes would look like to really help set what we need to settle this beyond like from a human ethical standpoint like fuck that it's probably a bad idea unless your everyone is just like we love it and we want to go but uh we love it well my question is did he just like push everything else into another day and then still like cut it at 12 or something because like then sure like this is you know what sure your question here is

no no this is this is a great thing because your question like is a fundamental question about the movie industry that has existed across the movie industry and it is always alive and it's alive even now today. It's like how do you make these things and when is it okay for people to push their comfort zone for the sake of the peace? And when is it not? And when are people

doing it because they yeah, they think oh I can't say no and then you get these you know lawsuits after the fact and things like that and you start to learn more about like oh shit yeah. So I mean I would say that film sets are not a place we need to allow a boss to make such insane demands because the thing is most filmmaker and it doesn't make

it okay that is David Fincher but most filmmakers are not David Fincher and so that a lot of people are going to want to be that way and they're not it's a bad example like yeah this is just like the way the women were represented in this film I mean though yeah the women are are all practically window dressing and then I just lost them again I had well I don't even think that's a weird thing to say about this honestly I don't think it's I don't think it's like the actresses are not doing a bad job and this movie is so in a male-centered world and it's a boys the whole thing is a boys club because the what it's but can't I be mad at that because it's representative of it's truthful and it's representation to me it is yeah it's like to me you are correct it's like watching the wolf of wall street it's like I've never seen that okay so the wolf of wall street just a quick sidebar is like a massively indulgent movie about massively indulgent movie about massively indulge men to the point that it's obscene and it's like three hours long and so like to accuse that movie of being indulgent is because it's kind of the point it is kind of the point it's representative you know yeah so in this way I'm like well you're in the world to say that like oh in all art like everyone has good intent like that's not that it's it's I'm more slice of life and I like that it's an accurate true portrayal that's not what I'm saying I would always like to have rich female characters I always like a complex character Yeah, I would like to have the female characters, the woman characters, have like rich inner life, or at least dimensionality.

I think in a movie like this, it makes a level of sense because the perspective you're in the way they show up. But that doesn't fix the fact that it sucks that these actresses have to do these kinds of roles again and again. I made fun of the bong hit underage girls. And I say underage because shout out Eduardo's character. He went and he went, how old are they? Yeah. But I made fun of them. But honestly, if Brenda's song's character, like, Rashida Jones's character kind of had it.

And Rudy Morrow's character had it. But if, if, if. The bookend ladies were good. But if we had, I think that we need the through line of like Brenda's also good. Because just throwing in like, she's a, like, women be crazy. Like, they're toxic. It would make up for it for me. Yeah.

If that makes sense. Like, I don't know if that's based on their real life events. Yeah. No, but yeah. because she's in Eduardo's story too. She's not as much in Zuck's story. So it's like, and he does seem like more of a human character. So to have.

Rune's character was great. Just in the isolation of a movie. Again, if like if it's the depiction of the facts, then I guess we're stuck here. Because that person does exist, I suppose. But at the same time, yeah, in the more human character's story to then have this like, women be crazy character is like a little bit of a drag. Yeah. And yeah.

And at a certain point, it's like, oh, you're still here. and I guess we're doing this now. Yeah. Okay. It's just, I think that if it's going to be a film that has so little women in it, like it's almost like the way that every single female character is written and portrayed does feel more impactful because there's just like a sheer lack of volume. Well, to me it says something about the whole world of the movie because it's that way.

It's like this is not a movie where people want women's opinions or want to, you know, these are people who want the love and attention of women, but they also want to compare them. They use them as set dressing. Essentially, they were just set dressing. Exactly. And that is how they appear in the movie. So in one sense... Yeah, they're called livestock from the beginning of the film.

It's disgusting. It's like, I agree with you. And I could see how that's not necessarily, like, the movie being bad at women. It's like the world it exists in is kind of bad at women. I know. It's really, it's a really, like, faint line, like, to walk. It's really interesting. But if they had, but I would not...

I am not ab... I'm not making... the argument that like if they wanted to make the women all much more interesting. If we just did, maybe, maybe it was the direction from the second second AD, but like if you just, if we like cut together all the background women and how they were directed, like you guys like, come on, like go take a look again and tell me that I'm not being insane right now. Like. Yeah.

Yeah. And the costume. Yeah. I would love better women characters for sure. It's just the costuming too. It's like, okay. When she's in the, when she's all like, yeah, like she's dressed like, she's the Bill Gates thing. She looks like she just came out of like, yeah.

The club, like. Yeah, it's a little ridiculous. You know, led your actors live. Don't work them into the ground. And write better females. And don't call them females. I've learned that females don't like it when you call them female. J.K.

I knew that already. People should call dudes males more often just until we get this balanced back out. The male species. The males. Hey, Nikki Sanrysa. Hi, Nikki. Let's do the thing. Did I read the last one?

I think it's you. Oh, you read the last one. All right. Here we go, Nikki. Hey, Jackie and John. Hello, Nikki. I hope you enjoyed the movie. I think we did.

I think Jesse Eisenberg did a spectacular job portraying Mark Zuckerberg. Period. But not enough people talk about Andy Garf's. Andrew Garfield's performances, Eduardo Savorn. We're here to talk about it. We're here to talk about it. He's so good, man. He's fucking fantastic.

He's so incredible. Like, Jesse Eisenberg, obviously, like, owns a lot of this movie. but because, too, like, we've seen how much just beautiful work Andrew Garfield has since then, going back to this after so long and seeing him at this point, I was like, man, dude still has so much life. I personally think he killed it. Nicky goes on to say, agree. Question. What is your favorite scene in the film? Which scene do you think is the best acted?

I personally love the acting and the sorry my Protestant The Cleaner scene. Sorry, my Protozit the Cleaners. That is the scene. Honestly, that is the scene. That is the scene. I think it's that one or... It's the most cathartic moment. Yeah, it was going to be that one or the opening scene, but now that I know how the opening

scene was shot, I take it back and fuck that scene. So sorry, my proud of the cleaners is my favorite scene. I mean, yeah, that scene at the beginning is a really great tone setter. But yeah, I mean, like, smashing the computer and the whole, like, my products of the cleaners and my, you know, like my slip-ons and my freaking robe. Like, he's right in the middle of the computer. two poles of assholery. Also, the way that that is written of like, it's computer smash, go, punch, ha, ha, ha, fuck you, walk off.

I just think it was so like the beats were great. That's the moment you want to cheer. Like, when he grabs the computer and smashes it, it was one of the most cathartic things. That's amazing. And, uh, and yeah, he, like... Good for him. And he needed to smash it. Yeah.

Oh, yeah. Someone needed to. I'm like, smash it again. Someone needed to do this years ago. Not that it would help, probably didn't help, but like... Years ago. Yeah, I loved him in this movie, and I am trying to think of any other, like, because this is also a dizzying movie with so many scenes, yeah.

And it's very fast-paced. Scenes, yeah. I mean, I was delighted by the cutting between modern and past tense, like, between the boardroom scenes and, like, they're, what is the word that I'm looking for there? Kind of move forth between the pastines and their... Is it a quality? Is it a... No, like, their artistic representations, I guess, of the stories.

Like, it kind of, like, switched between. They compliment, yeah, yeah, yeah, yeah. What's the word? I was trying to think of the word that they use in trials when they do a... Like a cross-examination? No, like, when they go, like, oh, okay, it's in, like, true crime. When they go, this is a dramatized... A dramatic reenactment. A dramatic reenactment and the dramatic reenactments.

Kind of. Sorry, guys. I spent three minutes. it's trying to find that word no yeah absolutely it does have that it does have that because then you're yeah you're zipping in and out of like okay we're talking about this in past tense and then we're seeing it in present tense and all that stuff it's great now I really do I really want to watch the next one I do too I'm very curious sometimes in October it comes out the six I think yeah depending on how it does at the box office yeah never never come out and we'll have a new mark Zucker book

who is it we have okay let's look up the castes so Net Reckoning. Sorry, I'm also going to pull up the IMD be super fast. Oh, yeah, you got your boy. You got it's freaking, yeah. I don't know. I think that he might be better to play an older Zuckerberg, actually. I could see this.

Yeah, I've seen the pictures I've seen of him. I can see it. I'm curious. I can see it. And you have. And Bill Burr. Oh, Betty Gilpin. I love Betty Gilpin.

She's fantastic. Wouldn't be Missaku. She just won an Emmy. For Widows Bay. Betty Gilpin did. Widows Bay is incredible. And her episode is terrific. We're going to see Sorkin direct next time.

It's going to be interesting. It's going to be interesting. Good. So maybe no crew members were harmed in the making of the social record. Yeah, here's hoping. Because two, I mean, like, again, the Winklevoss twins. Like how many, he had to. shoot everything like 180 times then oh my god yeah uh the movie star was natalie portman oh wow cool okay

oh yeah because she did go to harvard cue the lonely island song uh and apparently they were forbade from meeting their real life counterparts until filming is wrapped jesse isberg and andrew garfield became good friends during shooting uh it was apparently hard for their dramatic rivalry to flourish on screen because uh they were good friends yeah uh that's cute okay next A Ralph Lauren model, Josh Pence was one of the other, was like their body double for the Winkle Vye. Yeah. Oh, and I guess J.T. got to meet Sean Parker, though. So, you know, he broke the rules.

Whoa. The opening breakup scene, yeah. It took 99 takes. It's even more. Eight pages. 99 takes over eight pages. All right, we're going to stop reading trivia. We're going to stop reading trivia before Jackie Burns Hollywood down, which, you know.

Can you guys tell that I got off and it was. overnight. I did it last. Yeah. Help. You will not be doing a 90th take of this reaction. I will not. You got anything else to tell the people before we get the hell out of here and you shoot some more? I haven't. I have another film to shoot tonight. And I'm on set at 7 a.m. tomorrow. So I got to go, you guys. I'm going to get the hell out of here. Yeah, I got to leave. Friend us on Facebook and we'll see you next time. Bye.