Internet Security

The facts about Facebook

This is a critical reading of Facebook founder Mark Zuckerberg’s article in the WSJ on Thursday, also entitled The Facts About Facebook.  Yes Mark, you’re right; Facebook turns 15 next month. What a long time you’ve been in the social media business! We’re curious as to whether you’ve also been keeping count of how many times…


This is a criticalreading of Facebook founder Mark Zuckerberg’s article in the WSJ on Thursday, also entitled The Facts About Facebook. 

Yes Mark, you’re right; Facebookturns 15 next month. What a long time you’ve been in the social media business! We’re curious as to whether you’ve also been keeping count of how many times you’ve been forced to apologize for breaching people’s trust or, well, otherwise royally messing up over the years.

It’s also true you weren’t setting out to build “a global company”. The predecessor to Facebook was a ‘hot or not’ game called ‘FaceMash’ that you hacked together while drinking beer in your Harvard dormroom. Your late night brainwave was to get fellow students to rate each others’ attractiveness — and you weren’t at all put off by not being in possession of the necessary photo data to do this. You just took it; hacking into the college’s online facebooks and grabbing people’s selfies without permission.

Blogging about what you were doing as you did it, you wrote: “I almost want to put some of these faces next to pictures of some farm animals and have people vote on which is more attractive.” Just in case there was any doubt as to the ugly nature of your intention. 

The seeds of Facebook’s global business were thus sown in a crude and consentless game of clickbait whose idea titillated you so much you thought nothing of breaching security, privacy, copyright and decency norms just to grab a few eyeballs.

So while you may not haveinstantlyunderstood how potent this ‘outrageous and divisive’ eyeball-grabbing content tactic would turn out to be — oh hai future global scale! — the core DNA of Facebook’s business sits in that frat boy discovery where your eureka Internet moment was finding you could win the attention jackpot by pitting people against each other.

Pretty quickly you also realized you could exploit and commercialize human one-upmanship — gotta catch em all friend lists! popularity poke wars! — and stick a badge on the resulting activity, dubbing it ‘social’.

FaceMash was antisocial, though. And the unpleasant flipside that can clearly flow from ‘social’ platforms is something you continue not being nearly honest nor open enough about. Whether it’s political disinformation, hate speech or bullying, the individual and societal impacts of maliciously minded content shared and amplified using massively mainstream tools you control is now impossible to ignore.

Yet you prefer to play down these human impacts; as a “crazy idea”, or by implying that ‘a little’ amplified human nastiness is the necessary cost of being in the big multinational business of connecting everyone and ‘socializing’ everything.

But did you ask the father of 14-year-old Molly Russell, a British schoolgirl who took her own life in 2017, whether he’s okay with your growth vs controls trade-off? “I have no doubt that Instagram helped kill my daughter,” said Russell in an interview with the BBC this week.

After her death, Molly’s parents found she had been following accounts on Instagram that were sharing graphic material related to self-harming and suicide, including some accounts that actively encourage people to cut themselves. “We didn’t know that anything like that could possibly exist on a platform like Instagram,” said Russell.

Without a human editor in the mix, your algorithmic recommendations are blind to risk and suffering. Built for global scale, they get on with the expansionist goal of maximizing clicks and views by serving more of the same sticky stuff. And more extreme versions of things users show an interest in to keep the eyeballs engaged.

So when you write about making services that “billions” of “people around the world love and use” forgive us for thinking that sounds horribly glib. The scales of suffering don’t sum like that. If your entertainment product has whipped upgenocideanywhere in the world — as the UN said Facebook did in Myanmar — it’s failing regardless of the proportion of users who are having their time pleasantly wasted on and by Facebook.

And if your algorithms can’t incorporate basic checks and safeguards so they don’t accidentally encourage vulnerable teens to commit suicide you really don’t deserve to be in any consumer-facing business at all.

Yet your article shows no sign you’ve been reflecting on the kinds of human tragedies that don’t just play out on your platform but can be an emergent property of your targeting algorithms.

You focus instead on what you call “clear benefits to this business model”.

The benefits to Facebook’s business are certainly clear. You have the billions in quarterly revenue to stand that up. But what about the costs to the rest of us? Human costs are harder to quantify but you don’t even sound like you’re trying.

You do write that you’ve heard “many questions” about Facebook’s business model. Which is most certainly true but once again you’re playing down the level of political and societal concern about how your platform operates (and how you operate your platform) — deflecting and reframing what Facebook is to cast your ad business a form of quasi philanthropy; a comfortable discussion topic and self-serving idea you’d much prefer we were all sold on.

It’s also hard to shake the feeling that your phrasing at this point is intended as a bit of an in-joke for Facebook staffers — to smirk at the ‘dumb politicians’ who don’t even know how Facebook makes money.

Y’know, like you smirked…

Then you write that you want to explain how Facebook operates. But, thing is, you don’t explain — you distract, deflect, equivocate and mislead, which has been your business’ strategy through many months of scandal (that and worst tactics — such as paying a PR firm that used oppo research tactics to discredit Facebook critics with smears).

Dodging is another special power; such as how you dodged repeat requests from international parliamentarians to be held accountable for major data misuse and security breaches.

The Zuckerberg ‘open letter’ mansplain, which typically runs to thousands of blame-shifting words, is another standard issue production from the Facebook reputation crisis management toolbox.

And here you are again, ironically enough, mansplaining in a newspaper; an industry that your platform has worked keenly to gut and usurp, hungry to supplant editorially guided journalism with the moral vacuum of algorithmically geared space-filler which, left unchecked, has been shown, time and again, lifting divisive and damaging content into public view.

The latest Zuckerberg screed has nothing new to say. It’s pure spin. We’ve read scores of self-serving Facebook apologias over the years and can confirm Facebook’s founder has made a very tedious art of selling abject failure as some kind of heroic lack of perfection.

But the spin has been going on for far, far too long. Fifteen years, as you remind us. Yet given that hefty record it’s little wonder you’re moved to pen again — imagining that another word blast is all it’ll take for the silly politicians to fall in line.

Thing is, no one is asking Facebook for perfection, Mark. We’re looking for signs that you and your company have a moral compass. Because the opposite appears to be true. (Or as one UK parliamentarian put it to your CTO last year: “I remain to be convinced that your company has integrity”.)

Facebook has scaled to such an unprecedented, global size exactly because it has no editorial values. And you say again now you want to be all things to all men. Put another way that me

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Internet Security

Artists can express humanitarian concerns, but not undermine public order and security: Tan Kiat How

Advertisement Singapore Artistes can express humanitarian concerns, but not undermine public order and security: Tan Kiat How Senior Minister of State Tan Kiat How cited several performances dealing with social and humanitarian issues that had been allowed to proceed in Singapore. Robert Del Naja and Grant Marshall from Massive Attack stand with a Palestinian flag

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Artistes can express humanitarian concerns, but not undermine public order and security: Tan Kiat How

Senior Minister of State Tan Kiat How cited several performances dealing with social and humanitarian issues that had been allowed to proceed in Singapore.

Artistes can express humanitarian concerns, but not undermine public order and security: Tan Kiat How

Robert Del Naja and Grant Marshall from Massive Attack stand with a Palestinian flag onstage at the end of their performance in Singapore, July 29, 2026, in this screengrab from video obtained from social media. Simran Panaech/via REUTERS


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Justin Ong Guang-Xi

Justin Ong Guang-Xi

Justin Ong Guang-Xi

10 Sep 2026 01:42PM
(Updated: 10 Sep 2026 02:06PM)



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SINGAPORE: Artistes can express humanitarian concerns about international conflicts, but such expression should not undermine public order, security or stability in Singapore, Senior Minister of State for Digital Development and Information Tan Kiat How said on Thursday (Sep 10).

“Singapore should not be used by foreigners as a platform to further political causes, including those relating to conflicts or political issues overseas,” he said.

Artistes, whether Singaporean or foreign, are expected to abide by Singapore’s laws and the conditions of the arts entertainment licence when performing here, he added.

Mr Tan was responding in parliament to MP Hazlina Abdul Halim (PAP-East Coast), who asked how authorities distinguish prohibited political advocacy from expressions of humanitarian concern.

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She also asked how an artiste’s intent and the context of an expression are taken into account, and whether licensing conditions would be reviewed to exclude peaceful expressions of support for humanitarian causes.

Mr Tan said that besides an artiste’s intention, the Infocomm Media Development Authority (IMDA) considers the likely impact of a performance when assessing whether it meets licensing conditions.

Under IMDA’s Arts Entertainment Classification Code, content should not undermine public order, national security or stability.

The code, which sets out the framework for assessing and classifying live or public arts entertainment, also states that content should be “sensitive to the concerns of different racial or religious groups and the prevailing community expectations of what is necessary to safeguard racial harmony and religious harmony”.

In July, members of British band Massive Attack were issued stern warnings and barred from re-entering Singapore after flying a Palestinian flag during a concert, with one of the members shouting “Free Palestine”.


06:31 Min

The government recognises the humanitarian impact of international conflicts and that artistes may wish to express concern for those affected. Such expressions are not prohibited but should not undermine public order, national security or stability in Singapore. This condition is made clear in the Arts Entertainment Classification Code issued by the Infocomm Media Development Authority. Senior Minister of State for Digital Development and Information Tan Kiat How highlighted this approach in reply to an MP’s questions in parliament on Thursday (Sep 10). He stressed that Singapore should not be used by foreigners as a platform to further political causes, including those relating to conflicts or political issues overseas. 

Ms Hazlina asked Mr Tan for examples of performances involving social causes that had been allowed to take place.

He cited To The Unforgotten, an event held in May this year that featured a song, poem and multimedia artwork about the Israel-Gaza conflict. It was classified R18.

Another example was 6 Microlectures on Genocides. Also classified R18, the play comprised short works that explore themes of genocide, war crimes and contemporary conflicts, Mr Tan said.

He also pointed to the 2024 stand-up comedy show Namaste, which was classified Advisory 16 and included a segment in which comedians spoke about the Israel-Gaza conflict.

“So having material and content on causes itself is not prohibited, and the licensing framework is designed to, of course, protect young people from unwanted content, but also allow people to make decisions on what they can watch,” said Mr Tan.

“But at the same time, having some boundaries on the kind of content that may stir up public disorder or national security considerations.”

Mr Tan said assessments were “very contextual” and encouraged applicants for Arts Entertainment Licences to engage IMDA early.

“The earlier the applicants engage IMDA, the earlier conversations can start, and earlier we can give clarity and guidance on the kind of content that may be approved and

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