Eric Schmidt, the former CEO and Chairman of Google, once said, “The Internet is the first thing that humanity has built that humanity doesn’t understand, the largest experiment in anarchy that we have ever had.” I remember the first time I saw that quote. It was in front of an episode of Criminal Minds, back when it was a CBS procedural of the week. In other words, more than a decade ago. It’s stuck with me and it’s clear that it remains the case today.

Facebook is something that has clearly stuck with Aaron Sorkin for a long time. Sorkin wrote the script for The Social Network, which released in 2011. It followed the creation, rise, and struggles of its creator Mark Zuckerberg. It’s also one of the finest films of this century. But that wasn’t the end of the story for Zuckerberg and Facebook, nor was it the end of Sorkin’s interest in it.

Now, more than a decade later, much like that quote, Facebook has stuck with Sorkin. The Social Reckoning, which is in theaters today, comes from him as both a writer and director, and continues the story of Zuckerberg and Facebook. It seems to examine its influence—for good and for bad—on our country and some of the biggest issues of our times, including the COVID-19 pandemic and the events of January 6.

The film picks up in 2019 as Jeff Horowitz (Jeremy Allen White) joins the Wall Street Journal in San Francisco as the new Facebook reporter. He doesn’t have a tech background—in fact as we meet him, he can’t even really use the GPS in his car. But he’s an investigative reporter fresh out of Washington. He knows something is happening and Zuckerberg—and Facebook—is at the center of it.

We quickly cut to Facebook headquarters. They know about Jeff, and they’re warning employees about it. But there is one employee—Frances Haugen (Mikey Madison)—who is more troubled by what they aren’t talking about. That’s the increased engagement and the changes to the platform that are revealing some negative things about Social Media.

Meanwhile, Zuckerberg (Jeremy Strong) is preparing for his own testimony before Congress. As he prepares his public statements and image, he’s confronted with the decisions he’s made and the safeguards he has, and has not, put in place.

At this point, Sorkin has a certain style of writing. He tells stories in a specific way. Often, he’s interested in key points in history, in debating the issues, in taking moral positions, and in a certain kind of hero or heroine. All that is certainly in play with this film. As are some trademarks about references to musicals, running jokes throughout, and the pacing of the character beats. He wants to present an idealized vision of what the world could or should be. That is what made The West Wing transcend politics into something of comfort television.

I’m certainly his target audience. I enjoy the style and I enjoy the patter. I have in all his projects, and I certainly enjoyed it here. That does make me predisposed to look past some things that are certainly true of this project. It’s an investigative journalism story meant to be hard-hitting about the negative impacts of Facebook, Meta, and Social Media in general. As we all know in 2026, the things Facebook did and likely still is doing aren’t exclusive to them and their platform—which includes Instagram, WhatsApp, and more. But he makes for a high-profile target that clearly sparks Sorkin’s interests.

It’s also clear, when we get to the end, that all the work from Haugen and Horowitz, though it makes for an inspiring story, made little change. Facebook is still going and arguably has even more lax standards. And people certainly haven’t stopped using Social Media. At times, it’s not even clear how Sorkin feels about Social Media. He—through his characters—rails against the excess and failings of the platform. But he also seems to see some potential upside and nobility in its original premise. That might well leave you, as an audience, feeling mixed about the platform in general.

There are plenty of cliches here, and Horowitz and Haugen, at times, feel too earnest. And Zuckerberg, at times, feels too much like a two-dimensional villain. This film certainly lacks the flair and style from a visual sense that David Fincher brought to Sorkin’s first script. Sorkin isn’t a flashy director, but he offers a sturdy tale.

And, ultimately, despite the flaws I couldn’t help but enjoy the ride. I love a good journalism story, and this one certainly hits those notes. Madison gives a great and compelling performance, and I really enjoyed White here, too. Strong does a good job of channeling Zuckerberg’s mannerisms and speaking tone, making this a compelling journey.

I understand the flaws. I understand why some might struggle with it. But I was drawn to The Social Reckoning. It in no way lives up to the original, but it’s a fun exploration of the topic and an engaging time at the movies. It worked for me, and it will likely work for you if you’ve enjoyed Sorkin’s projects in the past.

The Social Reckoning is now playing nationwide.

Matthew Fox is a graduate of the Radio, Television and Film program at Biola University, and a giant nerd. He spends his free time watching movies, TV, and obsessing about football. He is a member of the FSWA. You can find him @knighthawk7734 on Twitter and as co-host of the Fantasy Football Roundtable Podcast.