The Social Network provides a pretty stunning case for the screenwriter as primary author. Film is typically thought of as a director's medium - if a film picks up praise it is likely to be heaped upon the person who helmed the picture. The screenwriter is often lost in the plaudits muddle, only occasionally rating a mention. Film criticism is especially guilty of this practice. Often it's an aesthetic concern, ascribing authorial intent to a groaning list of contributors is messy, making for dense, clumsy sentences. Much better to pick one figure and build your argument around them. You can always make the case that the director has final say in most instances, meaning a film is reflective of their taste and choices.
Unfortunately for that writing model it is impossible to talk about The Social Network without mentioning screenwriter Aaron Sorkin. To attempt to do so would be dishonest. Although it is folly to ascribe total intent to one individual in a collaborative medium such as film, certain people invite this kind of notice. Aaron Sorkin is one of them. The film is driven by his characters and his words. Sorkin's authorial stamp threatens to overwhelm director David Fincher's. The film motors on Sorkin's main obsession - intelligent and capable, but essentially damaged, masculinity. Devoid of any real thriller through-line the film zips on jigsaw puzzling scenes of arrogance and conflated ego. The Social Network is endless scenes of brilliant young men with varying degrees of social or sexual entitlement yammering and swiping at each other over the nature of authorship. It should be mind-numbing. It isn't because Sorkin can make the frazzled, contemptuous sneers of deluded dickheads sound like pop music.
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