As the eighth and final episode of Hulu’s series on the fall of blood testing business Theranos, “Lizzie,” draws to a close, Holmes witnesses the company’s demise due to an investigation by the Wall Street Journal. Her ex-boyfriend and current second-in-command, Sunny Balwani, is planning to shift the blame to her.
But Amanda Seyfried’s CEO isn’t a slouch: She has a puppy and a boyfriend and claims she’s going to give it a go. The plan is to keep going and continuing, according to him.
Linda’s (now ex) Business Attorney Michaela Watkins Confronts Her in the Mostly Vacant Theranos Offices;
Holmes cannot stop asking Watkins for help, despite the fact that Linda no longer works for the firm and is not getting paid is After performing some of Theranos’ dirtiest work earlier in the series, Linda finds herself unemployed and with a reputation in tatters (all of which she has brought upon herself).
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In spite of the chaos, Holmes still wants to chat with Linda about her boyfriend and her puppy. The tremendous mess she’s made is brought to his attention by Linda, who tells him, “You damage people.” This is Holmes’s Bolt.
When Linda accuses her of hurting people, she practically flees out the front door, down the stairs, and through the enormous glass doors. She drags the dog with her. She runs, then she stops to scream as loudly as she can for a bit, and then she smiles brightly and calmly as she steps into an Uber.
A story about a person like Elizabeth Holmes has a fairly straightforward structure: she makes herself, she becomes successful, and then she falls from grace dramatically. You may trace your tragic past back to this. This is a tragedy in the literary sense, not the modern one.
Problematically, the “fall” of a wealthy white entrepreneur who is detected being dishonest or misleading is rarely spectacular in real life, especially if they have harmed their employees or customers or created a poisonous work environment. The actual Elizabeth Holmes married into wealth, and she continues to enjoy that status. She was found guilty of scamming her investors, but it is unclear how long, if any, she will spend behind bars.
It’s a mistake to attempt to find the same kind of pleasant, schadenfreude narrative in any of these sleazy startup stories, whether they involve Holmes, Adam Newman at WeWork, or Travis Kalanick at Uber. The truth is, they don’t go through much.
Rather than depicting Holmes’ demise as a CEO or a billionaire, The Dropout shows a moment in which he is pressed for time. This is not a low point since you finally get to know him and see why his fall from grace won’t stay forever. You find out why it won’t make Elizabeth Holmes the current version accept wrongdoing.
The premise of The Dropout is that despite Holmes’ privileged upbringing, his desire for material success, his extreme ambition, his willingness to fully immerse himself in the destructive Silicon Valley norm, and his absurd levels of stubbornness, he was able to achieve greatness because of a unique insight into his past.
Specifically, it appears that Holmes has adopted his mother’s mistaken (but very typical) “go ahead, forget it” counsel after her college sexual assault and is using it as the basis for a “go on, Forget it” mentality. He eventually severed all ties between the past and the future, making it possible for him to do so at will.
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This realisation wasn’t crucial to The Dropout’s success, but it exemplifies how important it is if a film is to have moments like those. The shows require something to say, good actors, and a well-written script in order to be produced.
It’s not enough that the individual is repulsive; that’s not intriguing, especially when the public has already labelled them as a villain. This becomes a morality story with competing messages, which may or may not give the impression that it is excusing bad behaviour.