He went looking for America. And couldn't find it.

Daddy Frank goes to the movies.

Talk about Two Americas. Look at “The Social Network” again after seeing “True Grit,” and you’ll see two different civilizations, as far removed from each other in ethos as Silicon Valley and Monument Valley. While “Social Network” fictionalizes Mark Zuckerberg, it mines the truth of an era — from the ability of the powerful and privileged to manipulate the system to the collapse of loyalty as a prized American virtue at the top of that economic pyramid.

In contrast to Mattie’s dictum, no one has to pay for any transgression in the world it depicts. Zuckerberg’s antagonists, Harvard classmates who accuse him of intellectual theft, and his allies, exemplified by a predatory venture capitalist, sometimes seem more entitled and ruthless than he is. The blackest joke in Aaron Sorkin’s priceless script is that Lawrence Summers, a Harvard president who would later moonlight as a hedge fund consultant, might intervene to arbitrate any ethical conflicts. You almost wish Rooster were around to get the job done.

“The Social Network” is nothing if not the true sequel to “Wall Street.” The director, David Fincher (no less brilliant than the Coens), makes the atmosphere almost as murky and poisonous as that of his serial killer movies, “Seven” and “Zodiac.” In “Social Network,” the landscape is Cambridge, Mass., but we might as well be in the pre-civilized Wild West. Instead of thieves bearing guns, we have thieves bearing depositions. Instead of actual assassinations, we have character assassinations by blog post. In place of an honorable social code, we have a social network presided over by a post-adolescent billionaire whose business card reads “I’m CEO ... Bitch!”

This hits too close to home. No one should have been surprised that those looking for another America once again have been finding it in “True Grit.”