The Social Reckoning (2026)

  • Director: Aaron Sorkin
  • Screenplay: Aaron Sorkin
  • Producer: Todd Black, Peter Rice, Aaron Sorkin, Tony A. Grier, Stuart M. Besser
  • Cast: Mikey Madison, Jeremy Allen White, Jeremy Strong
  • Cinematography: Jeff Cronenweth
  • Editing: Alan Baumgarten
  • Score: Alexandre Desplat
  • Genre: Biographical legal thriller
  • Runtime: 112 minutes

After winning the Best Actress Oscar for ‘Anora‘, Mikey Madison had studios banging at her door. She was a newly minted star and could opt for whatever role she desired. Instead of tanking her career with a superhero flick destined to fail and passing on an offer to appear in the next ‘Star Wars‘ movie, she’s selected the pick of the crop: a quietly engrossing whistleblower drama. Madison plays Frances Haugen, a mousy Facebook data engineer who, with the help of Wall Street Journal reporter Jeff Horwitz (played by Jeremy Allen White), leaked tens of thousands of internal documents detailing the abandonment of a duty of care by her employers.

Frances truly believes in Facebook’s founding ethos – to connect people on a global scale. She’s an introvert and social media gives users a chance to be confident from behind a screen. The way the public use the site has shifted since its creation in 2004. I have an account (I use it as little as I can) but all I see when I catch myself using it is AI slop and right-wing rage bait. It’s a cesspool. It’s a domain of doomscrolling boomers. Facebook now owns Instagram, as if they’re cornering the market over there, brainwashing younger users with algorithms designed to keep them hooked for as long as possible. The content amplified to teenage girls has a detrimental effect on their body image while the platform itself is a battleground on which cyberbullies reign supreme.

Then we move on to misinformation. So much false information. Facebook is the chief suspect in the instigation of the January 6th Capitol Riots, depicted in brief yet powerful scenes. A whopping 64% of individuals who joined extremist groups on the site were directed there by Facebook’s own recommendation system. The algorithm continues to promote right-wing propaganda if you’ve liked or shared such material. All the worst, ire-inducing content served up on a plate. A stew of hatefulness.

These leaks demonstrate company executives are aware of how harmful the site is. Mark Zuckerberg is the architect of manipulation. A man who can’t bear to lose even 1% of engagement if it means the level of misinformation decreases signficantly. Jeremy Strong plays Zuckerberg brilliantly, capturing the total lack of compassion, giving anyone who disagrees with him short shrift. He’s a cold, almost robotic figure.

Whereas ‘The Social Network‘ charted the rise of Facebook out of a university dorm room, ‘The Social Reckoning‘ destroys any credibility the company has. It’s not balanced but when there’s irrefutable proof that the platform is doing more harm than good, it becomes a matter of holding those responsible to account. Frances doesn’t set out to dismantle Facebook, she wants to remedy it. It’s a company who clearly don’t take well to being told how to operate so her mission transforms into something on the scale of David vs. Goliath. A fictional media relations executive tells Jeff: “We’re twice as big as the biggest country on Earth. We’re post-government around here.”. Chilling.

Did it need to be made? Yes. We spend so much time on our phones, scrolling incessantly, more so now than we did a decade earlier. This is a sobering watch. It shows us how complicit big tech are in manipulating what we see on small screens and the destructive force it has on our society.

The film concludes with a victory of sorts – Frances attains protected whistleblower status, avoids being sued into a million tiny pieces, and testifies before the United States Senate. Though risking her career wasn’t enough to improve Facebook’s protocol going forward. The company no longer fact-checks any of their content and it’s where 43% of Americans get their daily news from. You can’t fix what’s already broken. Not even by changing their name to ‘Meta’.

My rating: 8 / 10

The Apprentice (2024)

  • Director: Ali Abbasi
  • Screenplay: Gabriel Sherman
  • Producer: Ali Abbasi, Louis Tisne, Ruth Treacy, Julianne Forde, Jacob Jarek, Daniel Bekerman
  • Cast: Sebastian Stan, Jeremy Strong, Martin Donovan, Maria Bakalova
  • Cinematography: Kasper Tuxen
  • Editing: Olivier Bugge Coutté, Olivia Neergaard-Holm
  • Score: Martin Dirkov
  • Genre: Biographical drama
  • Runtime: 123 minutes

The timing of this biopic of the 45th POTUS couldn’t be more appropriate. With less than a month to go until election day, this warts-and-all biographical drama documents his rise to prominence in 1970s New York City under the wing of crooked lawyer Roy Cohn (Jeremy Strong). ‘The Apprentice‘ (also the name of Trump’s NBC reality series) shows us his human side (yes, he has one); his flaws, his vulnerabilities. He starts off as an outsider, not taken seriously but ruthlessly driven to succeed in the business world. You almost feel sorry for him. Almost. The movie doesn’t hold a particular political stance – we see his unsavoury attributes; his cold-heartedness, his sleaziness, his absolute disregard for his first wife Ivana. Orange man bad? Well…

Sebastian Stan gives a stellar performance as Donald J. Trump, one of the most famous people on the planet (the pressure to get it right must’ve been intense). While he could easily have done an ‘SNL‘ skit-style take on Trump (Alec Baldwin anyone?), Stan completely immerses himself in the role. There were times I genuinely thought I was watching Trump on the big screen and had to remind myself this was just acting. He’s got the voice, the hand gestures; it threw me off the instant he started speaking. Jeremy Strong is a solid supporting actor as the corrupt and downright evil Cohn, who is the Obi-Wan figure to Trump’s Luke Skywalker, teaching him to win at all costs.

It’s got the feeling of an extended episode of ‘Succession‘ (which Strong starred in too); the camera zooming in like a pseudo-documentary and razor-sharp lines of dialogue; the grainy 70s lens is a nice touch as well. Pseudo indeed – there’s a disclaimer at the start saying many of the events are fictitious (‘fake news’), presumably so Trump can’t sue the writers. He’ll call them a disgrace to screenwriting on Truth Social instead.

Will this sway the American voters in any way? Probably not, but it does make you consider the real person behind the larger-than-life persona. It’s worth noting that Trump’s legal team tried to block the film’s release so the makers had to distribute it through Briarcliff Entertainment, an independent production company.

My rating: 8 / 10