Mr. Sorkin, that you would prefer an underpaid factory worker kill your dinner for you instead of doing it yourself does not make you morally superior to Sarah Palin. Killing an animal to eat is not a "Lottery-from-hell," it's the food chain.
As Facebook continues to shape norms online, it is worth remembering the premise that it was built on. The young Zuckerberg thought nothing of conscripting people's pictures and personal information into his web experiments.
For people like Mark Zuckerberg, who code around the clock, the idea of watching a caricatured augmentation of the great challenges of entrepreneurship seems about as pleasant as scratching a blackboard.
There are a lot of versions of truth available within the framework of The Social Network, and because the film's major players are have their own relationship with the truth, the story becomes infinitely more engaging.
There are women in the movie. But none of them play any sort of foundational role in the creation of Facebook -- other than acting as a motivating factor in anti-hero Mark Zuckerberg's decisions to build his empire.
The new film the Social Network is as good as everyone says. In fact, it's better. It's a brilliant mix of pop culture and eternal themes, from love and rivalry to classism or the simple need to be accepted.
Whatever else The Social Network is, the film represents the biggest culmination yet of old media's disdain and misreading of new media. It's a movie about social networking born out of a fundamental disconnect.
There is a sinister undercurrent to the The Social Network's assumption that for some Jewish men, and perhaps Mark Zuckerberg, Jewish women are a turn-off. But it isn't Jewish women that are the problem.
The Social Network makes no effort to understand the phenomenon right in front of its nose. It says the internet is not a revolution, but the creation of a few odd machine-men -- it's the revenge on the revenge of the nerds.