With You Can See Everything, Holmes joins other such high-profile subjects as Lance Armstrong, Imelda Marcos and Anthony Weiner to allow film-makers to document their lives. But do they ever come out well?

In You Can See Everything, convicted fraudster Elizabeth Holmes invites film-makers Nathan Fielder and Lance Oppenheim into her home in a supposed act of “radical transparency”. Holmes is filmed, along with her partner, Billy Evans, and their two young children, in the weeks before starting a prison sentence for defrauding Theranos investors. “The best way for people to see who she is,” Evans says, “is to give as much access as possible into our daily lives”. It may also be the best way to market “Theranos 2.0”, which the couple are working on during filming. But the documentary questions whether Holmes is presenting her authentic self or a manufactured persona. Fielder speaks for the audience when he asks Holmes in a tense exchange whether she’s “being real” with him. “I’m always being real,” she says.

That question of authenticity is at the heart of documentary film-making. You Can See Everything is as much about the ambiguous relationship between film-maker and subject as it is about Holmes herself. There is often a power struggle over narrative control in documentaries, with both sides of the dynamic wanting different outcomes from the final film. Watching You Can See Everything inevitably prompts the question: why would Holmes, days before she heads to jail, invite the scrutiny of a film crew?

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© Photograph: Courtesy of A24

© Photograph: Courtesy of A24

© Photograph: Courtesy of A24

The entrepreneur turned fraudster is the subject of an Oscar-tipped new documentary that takes an unusual look at her strange legacy

David Agus’s first encounter with Elizabeth Holmes at a health conference came as a shock. The Holmes he met in the green room was personable and pleasant. The Holmes he interviewed on stage was altogether different.

“The accent changed: this deep voice, very serious,” Agus, a medical oncologist, recalls by phone from Los Angeles. “It was as if I had met a person and then interviewed a separate person. That transition from the green room to the stage – I had never experienced something like that before.”

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© Photograph: Courtesy of A24

© Photograph: Courtesy of A24

© Photograph: Courtesy of A24

Nathan Fielder's documentary about disgraced Theranos CEO Elizabeth Holmes has created a constellation of colliding personas that interrogate the very nature of authenticity.

Um Apple I funcional, de 1977, entrou em leilão pela RR Auction. E o destaque vai para o seu valor estimado, de US$300 mil — os lances começam em US$10 mil.

Ele é um dos 50 modelos do segundo lote produzido pela Apple e está instalado em uma mala adaptada a partir de uma máquina de escrever Smith-Corona, sendo restaurado pelo especialista Corey Cohen, em junho, para funcionamento.

O modelo do leilão, “Neumark”, destaca-se por incluir mais do que a placa de circuito montada, a única coisa que os compradores do Apple I recebiam ao adquirir a máquina.

O item faz parte da segunda parte do “Steve Jobs & the Computer Revolution: The Apple 50th Anniversary Auction”, um leilão comemorativo que inclui objetos históricos da Apple, como um iPhone original lacrado, um protótipo do primeiro iPod — cada um podendo chegar a um valor de US$50 mil —, documentos como um cartão de visitas da Maçã assinado por Steve Jobs, um cheque da Apple assinado por ele (destinado a Elizabeth Holmes, primeira responsável pela contabilidade da empresa) e, ainda, itens pessoais do cofundador e ex-CEO ¹Chief executive officer, ou diretor executivo. da Maçã.

Os lances poderão ser feitos até o dia 20 de agosto, às 18h (horário da Costa Leste dos Estados Unidos). Às 19h, entra em vigor a regra de prorrogação automática do leilão, que estende-o em intervalos de 30 minutos a partir do registro de novos lances.

via AppleInsider

Notas de rodapé

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  Chief executive officer, ou diretor executivo.