Steve Jobs 2015

The cinematic canvas shifts to a vivid backdrop of 1984 Cupertino, California, where three visionaries converge: Steve Jobs (Michael Fassbender), his trusted confidante Joanna Hoffman (Kate Winslet), and Andy Hertzfeld (Michael Stuhlbarg), the ingenious mind behind Apple’s Macintosh. As they gather around a projection screen, the air is thick with anticipation as they wrestle with the seemingly insurmountable challenge of coaxing the revolutionary computer to utter its inaugural words: “hello.” The stakes are high, as this is mere minutes away from a highly anticipated product launch for Apple shareholders and press at a performing arts center.

Joanna’s calm and collected demeanor belies the urgency of the situation, as she urges Steve to consider a Plan B – simply omitting the voice feature altogether. However, Steve remains resolute in his demands, insisting that Andy make it work. The latter, wise to the machine’s intricacies, cautions that special tools are required to access its inner workings – no ordinary screwdriver will suffice.

Steve’s frustration boils over as he confronts Andy about the seemingly insurmountable task ahead. Joanna intervenes, emphasizing the importance of maintaining a veneer of confidence and control in front of their audience, including the observant Joel Pforzheimer from GQ Magazine, who has been shadowing Steve for three weeks.

Steve’s vision for Apple’s future is bold – he envisions selling a million units within three months. As the clock ticks closer to showtime, Andy Cunningham (the other Andy) joins the fray, and Steve tasks her with ensuring that the Exit signs are extinguished during the video presentation, plunging the audience into total darkness.

However, Andy’s response is met with a stern rebuke from the fire department, who refuse to allow the lights to be dimmed for safety reasons. Steve’s response is chilling: “If a fire causes a stampede to the unmarked exits, it will have been well worth it for those who survive.” This ominous tone sets the stage for the tense and unpredictable events that are to come, as Joanna suggests delaying the launch until the voice feature is resolved – but Steve remains resolute in his determination to start exactly on time.

This pivotal moment foreshadows the trials and tribulations that lie ahead, as the stakes continue to escalate in the quest to revolutionize the world of technology.

As Steve (actor name) and Joanna venture backstage, they find themselves immersed in a heated debate about the finer details of his revolutionary new computer. Joanna’s persistence is met with resistance as she tries to convince Steve that omitting the “hello” from the machine’s demo would be sufficient, given its innovative nature. However, Steve remains resolute, insisting that this defining feature is crucial to its success or failure in a market where Hollywood has notoriously portrayed computers as menacing entities, à la HAL (a reference to the iconic computer from Stanley Kubrick’s 2001: A Space Odyssey).

Joanna’s concerns about the machine’s steep price point ($2500) and limited memory are met with Steve’s explanation that the former would only increase if the latter were improved. As they navigate their way through the technicalities, Joanna can’t help but express her dismay at the TIME Magazine articles scattered throughout the area. It transpires that these publications were initially intended to be left on every chair as a testament to the future of personal computers – a notion that was later scrapped due to its scathing portrayal of Steve’s personal life, specifically his denial of having an illegitimate daughter, Lisa (Chrisann).

The tension is palpable as Steve laments being snubbed for Time Magazine’s Man of the Year cover in favor of a cartoonish representation of a man and a computer. Joanna intervenes, pleading with Steve to meet with Chrisann and Lisa, who are present in the lobby, surrounded by 335 reporters eager for a scoop – lest they spread malicious rumors about him to the gathered press.

As Joanna effortlessly navigates the backstage chaos, she invites Chrisann and her precocious five-year-old daughter, Lisa, into a realm of secrets and surprises. The air thickens as Chrisann and Steve’s animosity simmers just below the surface, prompting Joanna to discreetly escort Lisa from the fray. Their brief encounter earlier had sparked a bond between Joanna and Lisa, who had confided in her about her fondness for Joanna’s gentle Polish accent. Now, as they slip away from the commotion, Joanna expertly deflects Steve’s attempts to reveal his long-held suspicions about Lisa’s parentage.

Meanwhile, Lisa’s innocent curiosity is piqued by Steve’s revelation that he had named an Apple computer after her. Her eyes light up with wonder as she grapples with the notion that maybe she wasn’t the inspiration behind the LISA moniker – Local Integrated System Architecture was a far more prosaic explanation, one that left her wondering if Steve’s paternal instincts were merely a figment of his imagination. Joanna’s watchful eye intervenes just in time to prevent Steve from blurting out his true feelings about Lisa’s paternity.

The tension builds as Chrisann’s anxiety reaches a fever pitch. She accuses Steve of implying she had slept with nearly 30% of the country, citing an article that had sparked heated debate and speculation. Steve protests, insisting he never made such a claim – it was simply a clever spin on the ambiguous results of the paternity test, which indicated a mere 94.1% likelihood that he was Lisa’s father. Chrisann remains unfazed, her ire fueled by Steve’s refusal to financially support their daughter and his own burgeoning Apple empire, now valued at an astonishing 441 million.

As the storm rages on, Steve’s explosive declaration cuts through the din: “Lisa is not my daughter!” The admission leaves Chrisann reeling as Joanna later confronts Steve with a piercing insight – Lisa bears a striking resemblance to him.

As Steve “Woz” Wozniak (Seth Rogen) enters the scene, Steve Jobs’ keen eye for innovation is piqued by a man clutching a floppy disk in his pocket as he steps into an elevator. This chance encounter sparks an epiphany within Jobs - he envisions a shirt with a pocket to hold the disk, allowing him to effortlessly pull it out during a demonstration. With characteristic intensity, he tasks Joanna with procuring a white shirt that matches his own size and acquiring a free computer in exchange. His reasoning? The beige-colored machine demands a visual offset in the form of a crisp white shirt.

Meanwhile, Andy Hertzfeld approaches Jobs, fretting about the voice feature’s persistent malfunction. Jobs’ response is characteristically curt: “Fix it,” he orders. When Hertzfeld protests, citing their limited timeframe, Jobs counters by pointing out that the universe was created in a fraction of the time they had to develop the Macintosh computer. The implication is clear - if the universe can be born in mere moments, surely they can conjure up a functioning voice feature.

Jobs’ ire is further kindled when Hertzfeld suggests that he’ll one day have to explain how he managed this feat. Jobs seizes the opportunity to threaten a dramatic reveal, listing every member of the Macintosh team by their individual contributions - including Andy himself - and promising to publicly shame them if they fail to deliver. His ultimatum is clear: fix the voice feature, or face public embarrassment.

As Jobs takes the stage to rehearse his speech, Wozniak (Rogen) looks on from the sparse audience. Unbeknownst to Woz, Jobs has no intention of acknowledging the Apple II team’s crucial role in the company’s success. When Woz approaches him after the performance, he implores Jobs to recognize their contributions, but Jobs remains fixated on the Macintosh and the euphoria generated by the “1984” ad. The Board may have disapproved of the commercial, but for Jobs, their opinion is irrelevant - his vision and determination are all that matter.

As Steve returns to the room where Chrisann and Lisa are waiting, he’s met with a mix of curiosity and skepticism. Lisa, still trying to make sense of her morning, explains that she overslept because she forgot to set her alarm clock - a responsibility she claims is just one of many chores assigned to her by her mother. Steve, unfazed by the minor mishap, steers the conversation towards the Macintosh computer, which Chrisann promptly attacks with a series of pointed questions about its potential to change the world. Undeterred, Steve counters by highlighting the company’s philanthropic efforts, revealing that they donate many machines to underfunded schools - an attempt to silence Chrisann’s doubts.

Meanwhile, Lisa takes the opportunity to explore the Macintosh’s capabilities, clicking and experimenting with reckless abandon. As she delves deeper into the computer’s features, Steve becomes increasingly enthusiastic about its revolutionary potential, waxing poetic about how it will transform the way people interact with technology. He periodically checks in on Lisa’s progress, only to discover that she’s been busy creating an abstract masterpiece using the MacPaint program - a sign of her natural talent and creativity.

As Steve watches Lisa work her magic, he turns his attention back to Chrisann, revealing that he’s willing to put enough money in her account to buy a house - a gesture meant to soften her skepticism. Though initially wary, Joanna reassures Chrisann that this promise will indeed come to fruition.

Just as the trio is getting comfortable, Steve exits the room to join the team of technicians frantically trying to troubleshoot the voice feature. The discussion surrounding their efforts reveals a deeper conflict - a disagreement over port allocation, with Andy Hertzfeld suggesting an unorthodox solution that raises eyebrows. Joanna intervenes, labeling his proposal as “questionable” - a hint at the moral dilemmas that can arise when innovation and profit collide.

The auditorium erupts into a frenzy of applause as the crowd surges with excitement. Meanwhile, backstage, John Sculley (Jeff Daniels), the seasoned CEO of Apple, engages in a heated conversation with Steve Jobs behind the projection screen. Sculley’s words are laced with concern as he tells Steve that he’s heard rumors about his behavior being particularly egregious on this day – and that’s saying something, considering Steve’s reputation for being intense.

Steve defends his “1984” ad, insisting it’s a masterpiece deserving of an Academy Award for Best Short Film. Sculley counters, pointing out that the commercial fails to showcase the brand, instead transporting viewers to a dystopian future that bears little resemblance to their customers’ reality. He also expresses dismay at the inclusion of real-life skinheads in the ad, which he believes will inadvertently associate those individuals with Apple’s values.

As they debate, it becomes clear that Steve and John share a deep affection for each other – Sculley even refers to himself as a father figure to Steve. However, their discussion is cut short when Sculley asks Steve why he seems so fixated on rejection rather than acceptance. He offers the example of adoption, explaining that just because someone’s biological parents may not have spent time with them doesn’t mean they weren’t chosen and loved by others.

Steve remains silent in response to Sculley’s query, and instead takes the stage as he’s introduced – but his speech is lost on the audience, replaced by the news footage that follows. The reality is stark: the Macintosh has fallen woefully short of Steve’s projections, selling a paltry 50,000 units in just three months. This crushing disappointment ultimately leads to Steve’s ousting from Apple.

Fast-forward to 1988, and Steve has launched NeXT, a line of computer workstations designed for educational use. As he prepares for the launch with his partner Joanna, he’s obsessed with the design of the sleek black cube – his pride in its perfect dimensions evident in his demeanor. Joanna, meanwhile, brings up recent articles about Steve’s high-profile firing from Apple, noting that only Wozniak refused to comment on the matter.

What’s more surprising is Sculley’s kind words about Steve in a Forbes Magazine article, which Steve finds both unexpected and intriguing.

As Steve (actor’s name) meticulously applies his foundation, Lisa peppers him with inquisitive queries, her curiosity getting the better of her. Meanwhile, she carefully examines the NeXT cube with her trusty ruler, pronouncing all sides to be identical. However, Steve gently corrects her, explaining that it’s a faulty ruler and that even if she had another, it wouldn’t change the fact that a perfect cube has six sides, not four. He elaborates that the machine’s dimensions need to be precisely calibrated, allowing for only slight imperfections due to the human eye’s inability to perceive absolute perfection.

Their banter is laced with playful humor, revealing the growing rapport between them over the past four years. This warm atmosphere belies the intensity that soon follows as Joanna engages Steve in a heated discussion backstage. He remains adamant about the cube’s perfection, his frustration boiling over into a frenzy of passion. When someone suggests delaying the presentation to perfect the model, Steve is adamant that he never starts late – a trait that has earned him notoriety.

Joanna seizes this opportunity to share some enlightening insights with Steve. She recounts how, during his tenure at Apple, she consistently won awards for her ability to stand up to his imposing presence. Her words strike a chord, and Steve begins to see the world in a new light. Joanna’s revelation that TIME Magazine’s infamous cover was actually a sculpture of a computer, not a PC, and that he was never considered for Man of the Year, serves as a wake-up call. This fresh perspective alters his perception of reality, leaving him reevaluating his assumptions about the world around him.

As Steve Wozniak drops by, he’s met with the astonishing news that Macworld Magazine has penned an article proclaiming Steve Jobs’ revolutionary NeXT venture so innovative that it may catapult him into the CEO position at Apple. The mere mention of this prospect sends a thrill through Woz’s veins, and the two old friends head down to the orchestra pit where they encounter a candid conversation between Steve Jobs and a conductor. In this enlightening exchange, Jobs queries the conductor about his occupation, only to be told that while a metronome can indeed keep rhythm, it’s the conductor who orchestrates the entire symphony. Wozniak seethes at Steve’s condescending tone, pointing out that he himself is an engineer and designer, whereas Steve is merely a visionary. Woz’s ire simmers as he reminds Jobs that he built the circuit board, while the graphical interface was borrowed - yet Steve continues to bask in his reputation for genius.

Wozniak takes this opportunity to issue a stern warning: NeXT is on the brink of failure, marking Steve’s second collapse in four years. But Steve remains unfazed, responding with characteristic aplomb, “Tell me something else I don’t already know.” His nonchalance only serves to further enrage Wozniak.

As they exit the pit, GQ journalist Joel Pforzheimer reappears, seeking a quotable sound bite from Steve Jobs. Joanna intervenes, capturing all the desired phrases while Jobs himself remains resolutely silent. The unlikely trio boards an elevator, where Steve confides in Joel that the NeXT computer is merely one missing piece away from perfection - but refuses to reveal what this elusive component might be. Joel, determined to keep his promise of discretion, removes the cassette tape and turns off his recorder to reassure Steve of his sincerity.

As the conversation unfolds, Steve’s cryptic hints only serve to pique Joel’s curiosity further. The journalist probes deeper, asking how NeXT can launch without a functioning operating system in place. Steve smiles enigmatically, explaining that they’ll be relying on demos showcasing the computer’s potential - though these features are still in development.

In a sudden and unexpected encounter backstage, Steve (Steve Jobs) is confronted by John Sculley, who emphasizes the urgent need for heightened security measures. Initially, Steve expresses gratitude towards John’s recent Forbes interview, but their conversation quickly takes a contentious turn as they delve into the controversy surrounding Steve’s ousting from the company. John, visibly agitated, protests against being blamed for Steve’s departure and laments receiving death threats from disgruntled computer enthusiasts. As the argument intensifies, Steve counters by suggesting that the Macintosh would have fared better had it been priced at $1495 rather than $2495. However, John refutes this notion, insisting that user dissatisfaction stemmed from the product itself, not its price point.

The verbal sparring match continues, with John posing a probing question: “Why do you want everyone to dislike you?” Steve’s response is telling, as he declares, “I don’t want them to dislike me. I’m just indifferent to whether they do.” Undeterred, John retorts that he personally dislikes Steve and has always felt this way. In an unexpected twist, Steve reveals a surprising admission: he genuinely liked John.

As the truth behind Steve’s (Steve Jobs) sudden and contentious dismissal is slowly revealed through a poignant flashback sequence, we find ourselves transported to a starkly empty home, devoid of furniture but bursting with creative energy. It’s here that we witness John Sculley’s surprise visit, which sets the tone for the unfolding drama. The usually stoic Sculley (John Sculley) reveals to Steve that the Board has made the decision to part ways with him, a revelation that sparks a heated and impassioned exchange between the two.

As their argument unfolds, we’re privy to a fascinating insight into the creative and commercial tensions that drove the relationship between these two visionary leaders. Steve’s ire is piqued by John’s criticism of the iconic “1984” ad, which Steve believed was a masterstroke while John saw it as problematic due to its depiction of skinheads. The conversation turns when Steve accuses John of trying to suppress the ad, only for John to reveal that he was instrumental in finding innovative solutions to get the commercial on air.

The seeds of discord are sown, and we’re soon taken to a rainy night, which Steve would later recall as the worst night of his life. It’s here that Steve, with characteristic bravado, demands a meeting with the Board, determined to make them choose between keeping him or Sculley. With the stakes high, Steve forces an ultimatum, knowing full well that the Board will ultimately opt to keep Sculley and show the door to him.

And yet, in a masterstroke of psychological manipulation, Steve ensures that the outcome is framed as if John was responsible for his departure – a clever move that would have far-reaching consequences in the drama that unfolds.

As Steve enters his dressing room, Chrisann awaits him with a sense of urgency, demanding a greater financial allocation to cover her medical expenses for a nagging sinus infection. However, Steve is quick to point out that records reveal she has already squandered $1500 in funds he had entrusted to her, labeling it as “blessings” for her home. He is visibly incensed, citing instances where acquaintances have shared rumors of Chrisann’s erratic behavior, including a report that she hurled a bowl at Lisa’s head. Chrisann defends the allegation, claiming she only threw the bowl at the ground and Lisa was not even in proximity. Steve remains incredulous, noting that her ire was likely sparked by Lisa’s careless forgetfulness to set her alarm clock - an unnecessary burden for any child.

As their conversation unfolds, it becomes clear that Lisa has recently enrolled in a prestigious gifted school, with Steve acknowledging his role in funding the institution. He locates her on a catwalk, engrossed in listening to Joni Mitchell’s timeless classic “Both Sides Now” on her Walkman. Lisa shares her insight into the song’s themes, detailing its exploration of clouds, love, and life before offering a profound observation about the second half’s shift in perspective. Steve reveals his familiarity with the song, humorously remarking that it’s not an “old” tune - else he would be considered one himself. He then gently reminds Lisa that her truancy is a serious issue and that she must get to school.

In the backstage area, Joanna approaches Steve with a look of desperation. In a playful tone, Steve queries why they’ve never shared a romantic night together, only to receive a candid response: “Because we don’t love each other.” She confides in him about the Macworld article’s accuracy - that his innovative product doesn’t guarantee success. Steve confirms her assessment, revealing that his true intention was to showcase his ideas and innovations to Apple, ultimately seeking reinstatement as CEO.

As Chrisann and Lisa bid farewell, a poignant moment of introspection unfolds. Lisa reveals that she now feels compelled to attend school, fearing the consequences of not doing so would be tantamount to committing a crime. Steve, attempting to diffuse the tension, confesses that his earlier statement was merely a joke. He then inquires about the second version of their song, with Lisa explaining it to be “regretful” - a term that seems fittingly apropos given Steve’s newfound affection for his daughter, whom he had previously disavowed. As they part ways, Lisa whispers her deepest desire to Steve: “I want to live with you.”

Fast-forwarding through the years, we witness Apple’s fortunes falter in the 1990s, culminating in the ill-fated launch of The Newton, a Personal Digital Assistant (PDA) that struggled to convert handwritten notes into digital text. The press and even “The Simpsons” mercilessly lampooned this technological misstep, cementing its status as a failure.

Now, in 1998, Steve prepares to unveil the innovative iMac. As he fine-tunes his presentation for the assembled audience, the anticipation builds. The iMac is finally revealed, boasting an translucent design, vibrant color scheme, and ingenious side compartment housing all necessary ports. Steve proudly declares that the video projection screen showcases the finest visuals he has ever witnessed. Andy Cunningham, however, knows the secret behind this exceptional display: she had cleverly dimmed the Exit signs to achieve a true blackout. When asked how she managed this feat, she reveals that she simply connected the light sources of the Exit signs to the system, allowing her to shut them off for seven seconds.

As Steve reviews quotes on the iMac, Joanna intervenes, confiscating the documents and advising him not to be privy to any pre-launch buzz. Undeterred, Steve remains keenly aware that his daughter is present and requests someone bring Lisa backstage so they can spend some time together. He is informed that she is currently socializing with her friends but remains insistent that someone fetch her forth.

As Joanna escorts Steve backstage, she reveals a shocking discovery - the quotes have been reviewed, and the iMac is on a meteoric rise to success, with projected sales of one million units in just three short months. The statistics are equally astounding, predicting that 33% of these new customers will be first-time computer buyers, while many PC loyalists are expected to make the switch to Mac. Steve, unfazed by this news, begins to exhibit an unexpected display of yoga poses, but Joanna’s enthusiasm is short-lived as she reveals a bombshell - Steve has failed to pay his daughter Lisa’s tuition at Harvard. The revelation sparks a heated debate, with Steve defending his decision by pointing out that Lisa’s mother, Chrisann, sold the house he purchased for them. Joanna counters that this is no excuse, and Steve should have taken steps to prevent it. It emerges later that Chrisann has a history of selling valuable assets at a fraction of their worth, including sculptures previously bought with funds provided by Steve. The reason behind this financial desperation is revealed - Chrisann requires money for ongoing doctor visits due to her chronic sinus infection, which has persisted for 15 years.

As tensions rise, Joanna drops another bombshell - Andy Hertzfeld has paid the first semester’s tuition of $25,000. Steve demands to know which Andy was responsible for this unexpected generosity, and Joanna reveals that it was none other than his colleague. She also informs him that it’s time he started referring to Andy as “Andrea” - a distinction that will only truly matter if others adopt the same moniker. Steve is taken aback by this suggestion, pointing out that his perception of who is being referred to would be entirely dependent on how others choose to address Andrea.

Just then, Andy Hertzfeld emerges from outside, having been listening in on the conversation. The tension between Steve and Andy becomes palpable as they discuss Andy’s decision to pay Lisa’s tuition without consulting Steve first. Joanna exits the scene, leaving Steve and Andy to hash out their differences.

As Steve (Steve Jobs) and Andy (undisclosed) engage in a heated discussion, the tension is palpable, much like the reverberations of innovation that echo through the walls of the very same theater where iconic figures from the past are celebrated. The air is thick with the weight of Steve’s concerns as he reveals his daughter Lisa’s struggles to adapt to her first semester at Harvard, a predicament that has him questioning Andy’s motives. It seems that Andy’s influence extends beyond mere tuition reimbursement, as he had encouraged Lisa to seek therapy, an endeavor she finds enjoyable, much to Steve’s dismay.

As the conversation unfolds, it becomes clear that Steve is grappling with more than just his daughter’s academic woes. He’s troubled by Andy’s role in her life, a reality that has Steve feeling increasingly disconnected from their relationship. The revelation sparks a heated exchange, with Steve accusing Andy of trying to fill the void left by the lack of a strong male presence in Lisa’s life.

Meanwhile, amidst this tumultuous backdrop, the audience is treated to a visual feast, as blown-up photographs of legendary innovators adorn the theater walls. A curious onlooker asks Steve about a particular image, prompting him to reveal that it’s none other than Alan Turing, a pioneer whose groundbreaking work single-handedly altered the course of history. However, when asked if he would include this luminary in his forthcoming speech, Steve chuckles wryly, admitting that he had simply needed to explain who Alan Turing was.

As the discussion turns to the enigmatic Apple logo, featuring a bitten apple, someone poses an intriguing question: Is this design a nod to the tragic fate of Alan Turing, who took his own life after being persecuted for his homosexuality? Steve’s response is characteristically cryptic, leaving the audience wondering if there might be more to the story than initially meets the eye. Despite the uncertainty, one thing is clear: in this world where innovation and legacy are paramount, the power of storytelling can be both a unifying force and a source of great conflict.

Steve returns to the stage, his focus now solely on fine-tuning his presentation. With a flourish, he selects the image of a shark as the demo computer’s desktop wallpaper, much to the chagrin of the technician, who had previously shown him 37 other shark images and assumed this one was an early rejection. Steve proceeds with his speech, weaving in lyrics from none other than Bob Dylan - a favorite of Steve Jobs’ in real life. Wozniak, seated in the nearly empty audience once more, like during the 1984 presentation, asks Steve if he intends to acknowledge the recent layoffs that had left many employees reeling. Steve defends his decision, insisting there’s no need to include everyone in his speech, as some individuals are A-players while others are merely B-players. Wozniak takes umbrage with this assessment, passionately arguing that the unsung heroes behind the machines’ design and construction are the reason for Apple’s success, not just the A-players who get to shine. Wozniak confesses he’s grown tired of being treated like Ringo Starr - a sentiment Steve attempts to assuage by noting everyone loves Ringo. However, this only fuels Wozniak’s ire, leading him to remark that John Lennon was beloved for his iconic songwriting, while he himself had penned the code that brought Apple to life. Feeling underappreciated and undervalued, Wozniak reveals he’s gone from thinking Steve is a visionary genius who deserves recognition to now simply seeing him as an unyielding egotist. Steve retorts by highlighting his numerous achievements since becoming CEO, emphasizing the progress made at Apple during his tenure. In a final attempt to soothe the situation, Steve posits that it’s not necessarily a binary choice between being decent and gifted - one can be both. With this, he exits the stage, leaving behind a lingering sense of tension and discontent.

As John Sculley slips unnoticed into the backstage area where Joanna and Steve are engrossed in conversation, Joanna’s swift intervention ensures his presence remains under wraps. Fresh from his departure as Apple CEO, John is keen to maintain a low profile, particularly given the intense media scrutiny that often accompanies his name. As he joins the duo, Steve’s eyes light up with enthusiasm as John presents him with an Apple Newton, a device that had initially sparked optimism within the company but ultimately failed to gain widespread traction. The trio engages in a cordial discussion, with Steve sharing a poignant anecdote about his own adoption experience. He recalls being rejected by the Catholic lawyer who originally adopted him, only to be returned to the adoption agency after just a month. In stark contrast, Steve’s biological mother refused to sign the adoption papers when the less-experienced Jobs had expressed interest in adopting him – a decision that Steve finds utterly bewildering.

As their conversation flows effortlessly, a poignant flashback transports us to the early 1980s, where Steve is seen mounting an impassioned pitch to John, then president of Pepsi-Cola, to become CEO of Apple. Steve’s vision for a personal computer that would be so invitingly user-friendly that everyone would eventually possess one is met with skepticism by John, who remains unconvinced.

The scene shifts once more as we find ourselves in the midst of a bustling restaurant, where Steve and John are being attended to by a courteous Syrian waiter. As they enjoy their meal, John inquires about Steve’s biological parents, prompting Steve to reveal that he had indeed met his mother. When John asks if Steve has ever considered meeting his father, Steve confesses that they have both been encountered, though under less-than-ideal circumstances.

As the conversation unfolds, we are treated to a glimpse of Steve’s father, whom Steve had tracked down and reconnected with at this very same restaurant. Steve’s reluctance to reveal their relationship stems from a fear that his father might claim ownership of Apple, thereby sparking a legal battle. As Steve is ushered away from the table, he takes a moment to impart one final piece of wisdom to John regarding the Newton: its failure to gain traction was largely due to the stylus, which Steve believes would have been more effective had users already possessed multiple devices.

In this subtle yet insightful exchange, Steve offers a prescient glimpse into Apple’s future, hinting at the success that will come with the introduction of the iPhone – an innovative device that will revolutionize the industry by embracing touch screens and multi-unit functionality.

As Steve finally reunites with his estranged daughter outside, he’s met with an icy reception. Her Walkman cranked out tunes as she listened to music from a bygone era, a nostalgic echo of 1988. Despite the awkwardness, Steve attempts to make amends, revealing plans to wire money to Andy and expressing gratitude that her tuition is being covered. However, his daughter’s ire isn’t assuaged by his words; in fact, she’s consumed by a deeper indignation. Her recent discovery has left her seething - Harvard’s nascent internet access has allowed her to uncover the truth about Steve’s past. The TIME Magazine article from 1984, which he once denied was relevant, now hangs like a sword of Damocles over their reunion. Her professors’ attempts to reverse-engineer his dubious claim that only 28% of men are fathers (based on a flimsy 94.1% probability) have left her feeling betrayed.

As the tension simmers, Joanna tries to coax Steve onto the stage, but he’s oblivious to the time constraint. This is a far cry from his usual fastidiousness about punctuality. Lisa, still fuming, peppers her father with barbed remarks, and for once, he listens with a gentle, apologetic ear. Her gaze drifts to a massive Bob Dylan poster on the wall, and she wonders if even the Bard’s words might be reduced to hollow platitudes by the cold efficiency of modern technology - a sentiment exemplified by the sleek, futuristic blue iMac looming in the background like Judy Jetson’s Easy-Bake Oven. With that, Lisa turns her back on her father and disappears into the crowd.

As Steve stands poised on the rooftop parking lot, he intercepts Lisa walking towards her battered car, ready to depart. The air is heavy with anticipation as he poses a query that will alter the course of their lives: does she know what Apple’s LISA computer stands for? With a nod, Lisa confirms her familiarity with the term, attributing it to the Local Integrated System Architecture. Steve’s eyes narrow as he disputes the seemingly arbitrary combination of words, revealing his true motive - the computer was named after her. The weight of this revelation settles upon them like a mist, as Steve pulls out an abstract picture designed by Lisa on MacPaint in 1984, a keepsake he had treasured for years. The tender moment is interrupted by Joanna’s arrival, her voice firm and insistent: it’s time for Steve to take the stage.

As the soundtrack swells with “Shelter from the Storm” by Bob Dylan, seemingly emanating from Lisa’s Walkman, now tucked away in Joanna’s pocket, Steve’s gaze lingers on the device. He muses about the impracticality of carrying such a large contraption just to listen to music, his mind already racing with innovative solutions - a tiny gadget capable of storing 500 to 1,000 songs. The prospect of revolutionizing music consumption is momentarily eclipsed by Joanna’s stern reminder: Steve will be late for his speech. But as he gazes lovingly at Lisa, the co-founder of Apple finds himself impervious to time constraints.

The film unfolds in three distinct sequences, each set mere minutes before a groundbreaking product launch - the Macintosh in 1984, fresh from its Super Bowl ad; the NeXT cube in 1988, Steve’s inaugural foray after being fired by the Apple Board; and the iMac in 1998, following Apple’s acquisition of NeXT and Steve’s return as CEO. Before each launch, Steve navigates a series of encounters with key figures from his inner circle - including CEO John Sculley, co-founder Steve Wozniak, and inventor Andy Hertzfeld - while simultaneously grappling with the complexities of fatherhood, as he initially denies being Lisa’s biological parent.