There are certainly aesthetic grounds for challenging The Social Network — the “nerd creates something to compensate for his own social inadequacy” undercurrent of the narrative is beyond hackneyed at this point — but the broader problem with both that film and the Jobs movie is that they are being marketed as biographical depictions of the subjects, not as works of art inspired by the lives of the subjects.

That makes Sorkin’s position border on deception, as far as he is complicit in the marketing.

Blogging since 2001, journalisting (which isn’t a word, but should be) since 1994, and sleep-deprived since 2012. Journalism lecturer, consultant and trainer.