Eduardo Saverin (Andrew Garfield), Mark’s best friend, gets an invite to a Phoenix party, an emblem of the “cool people” with social capital, instigating a hint of jealousy in him. Mark’s insistence on creating the Facemash website from scratch and sending the invite link to the Phoenix party—post-breakup, drunk, wounded—was a digital power move that said, “I’m smarter than you and I know it.” Sure, the insecure rage helped his innovations but in the long run, internally, Mark’s festering bitterness still anchored his creativity from the driver’s seat. Zuckerberg has condemned the film for misrepresenting his motivations. Yet the film’s perspective eerily mirrors the same internalised rejection, disregard and exploitative vengeance—that his innovations have since inflicted on the masses. The Social Network may play fast and loose with Zuckerberg’s biography, but its lesson is crystal clear: the film doesn’t just critique ambition, it mocks it. It functions as a cautionary tale, exposing how ego, left unchecked, drives brilliance into cruelty, turning ambition into a weapon that wounds the very people closest to you—all in the name of recognition.