“The Social Reckoning,” the sequel to “The Social Network” by Aaron Sorkin, is projected to generate only $5.5 million at the domestic box office this weekend, based on Sunday estimates. This figure falls short of the studio’s already modest expectations of $7 million to $8 million, indicating that Sorkin’s latest film is unlikely to achieve the same level of success as its predecessor. The original film opened with $22 million and accumulated a total of $97 million domestically (adjusted for 2010 ticket prices). It also earned Sorkin an Academy Award and became one of the most significant cinematic portrayals of Silicon Valley and startup culture.
Beyond the performance of this particular film, the weekend box office may provide insights into audience enthusiasm, or lack thereof, as the fall season unfolds with a slate of films featuring nefarious, real-world technology executives. Upcoming releases include Alex Gibney’s extensive four-hour documentary “Musk” (which also debuted this weekend), Nathan Fielder’s unconventional documentary on Elizabeth Holmes titled “You Can See Everything” (set to release next weekend), and the boardroom drama “Artificial” concerning OpenAI, which has secured a new distributor after being dropped by Amazon.
In addition to theatrical releases, Netflix is preparing to launch a series named “The Altruists” in November, which will explore the story of Sam Bankman-Fried and the downfall of FTX. Regarding “The Social Reckoning,” while “The Social Network” was a significant triumph, the cinematic landscape has evolved considerably over the past 16 years. The first film captured the excitement and drama surrounding Facebook’s inception, whereas the sequel adopts a darker tone, centering on whistleblower Frances Haugen’s choice to disclose what became known as the Facebook files. Thus, it is possible that a film focused on Senate hearings and algorithmic changes was never destined for widespread acclaim.
Alternatively, “The Social Reckoning” may resonate more with older audiences who have only occasionally returned to cinemas. It raises the question of whether critiques of Facebook feel less pressing to viewers who are increasingly concerned about the implications of artificial intelligence. Additionally, the reviews for the new film have not been particularly favorable. (For what it’s worth, I found enjoyment in “The Social Reckoning” but must acknowledge that it is heavily laden with Sorkin’s characteristic dialogue. I also found myself imagining a version directed by David Fincher, like the original, accompanied by a score from Trent Reznor and Atticus Ross.)
In contrast, “Musk” earned $69,000 during its opening weekend across four theaters. It is expected to expand its release in the coming weeks; however, due to its length and subject matter, the documentary is likely to attract a larger audience once it becomes available for streaming on HBO Max.
