Born in Plains, Georgia. Navy officer. Peanut farmer.

Then he got into politics. He became the governor and was elected 39th President of the United States in 1980.

Jimmy Carter. Intriguing for his philanthropy, diplomacy, and boundless energy, decades after his term as President. Just yesterday he was released from an Ohio hospital where he fought a stomach virus.

His first order of business? To get back on the book-signing circuit. And oh, yeah...today's his 86th birthday.

Abbie Boudreau joined Rick Wednesday to tell a very bizarre story about her encounter with notorious conservative activist James O'Keefe.

If you missed it, here's Abbie weaving this very strange tale of mysterious meetings, sex toys, hidden cameras, and a fully documented "CNN Caper" designed to embarrass the network.

Read more about Abbie's encounter with O'Keefe here.

During the opening scene of David Fincher’s new film “The Social Network,” Mark Zuckerberg says something that resonates throughout the rest of the movie. The future-billionaire is having a beer with a young lady who he’s apparently dating. That all changes when she hits him with six very devastating words: “I just want to be friends.”

Zuckerberg immediately replies: “I don’t want any friends.”

How ironic. “The Social Network” begins with the young man who will go on to create Facebook – the most popular social networking site in history – literally saying he doesn’t want any friends.

A scene from “The Social Network” from Sony Pictures Entertainment.

This scene doesn’t occur in author Ben Mezrich’s book on which this film is based: “The Accidental Billionaires.” Therefore one can assume that it never actually happened in real life, and that screenwriter Aaron Sorkin crafted it from out of nowhere to enhance and further develop the cinematic persona of a man who refused to cooperate with the writing of the book or the making of this movie.

And it’s this scene, which is referenced again at the very end of the film, which attempts to explain who Mark Zuckerberg really is. What drives him? What does he really want out of all of this? Of course, no one except Zuckerberg has the real answer to these questions, thus prompting Sorkin to build a mystique recalling that of the titular hero of Orson Welles’ “Citizen Kane.”

“The Social Network” dares to ask the question: what – or who – is Mark Zuckerberg’s “Rosebud?”

While emotional scenes containing a great level of depth and texture serve as bookends for the film, what happens in between can best be described as “all business.” Sorkin remains painstakingly faithful to the sequence of events described in Mezrich’s engrossing book.

Unfortunately that doesn’t leave much room for the emotional power many viewers might expect after seeing the movie’s haunting theatrical trailer, which features a chilling re-imagining of the Radiohead song “Creep” as sung by an all-girls’ choir. The trailer begins with a montage of what appear to be random photos posted on Facebook spanning the entire spectrum of human emotion; from happiness to drunkenness to downright pain.

This series of images, combined with the ultra-effective music choice, serves as a moving commentary on how Facebook has become one of, if not the, most important communication outlets that the human race has ever known.

If there’s one thing lacking in “The Social Network,” it’s some kind of emotional examination of how Facebook has impacted the world, aside from the title card at the end that states the site’s membership has surpassed 500 million users. If you want this kind of emotional examination of the ways in which Facebook can change and, in some cases, destroy people’s lives, check out “Catfish,” which is currently playing in theaters nationwide. In fact, that film would definitely work well as a double feature with “The Social Network.”

On the other hand, the film succeeds on many other levels, mostly because of a combination of Sorkin’s script and the editing prowess of Kirk Baxter and Angus Wall. Framed around a series of depositions related to two separate lawsuits against Zuckerberg, the movie traces the origins of Facebook from a group of buddies drunkenly fooling about in a Harvard dorm-room all the way to the swanky all-glass buildings occupied by venture capital firms in California’s Silicon Valley.

“The Social Network” never lags and consistently maintains a sense of urgency that matches and – in many ways – surpasses that of the recently released “Wall Street” sequel. The latter film does delve into more emotional areas, resulting in somewhat of a narrative misstep that causes the movie to deflate near its conclusion. However, Fincher’s film sticks to the business at hand, delivering an absorbing backstory that will undoubtedly educate millions of people on the genesis of the first website they check after waking up every morning.