Business 5 min read By Bethany Hadley
Nathan Fielder's Theranos Documentary Becomes Unlikely Profit Negotiation
A new documentary about Elizabeth Holmes and Billy Evans includes a surprising negotiation over profits after Evans allegedly sought a share of the film's earnings.
A documentary about Elizabeth Holmes and Billy Evans has taken an unexpected turn, with a profit negotiation becoming part of the film itself. According to reports, Billy Evans allegedly sought a share of the documentary's profits after inviting filmmaker Nathan Fielder into their home. The negotiation, which was captured on camera, adds a new layer to the already complex story of the disgraced Theranos founder and her partner.
The film, which explores the couple's life after Holmes's conviction for fraud, reportedly features Evans making demands for a cut of the proceeds. This development is unusual in the world of documentary filmmaking, where subjects typically do not negotiate for a share of profits. The inclusion of this negotiation in the final cut suggests that the filmmakers decided to incorporate the behind-the-scenes financial discussions into the narrative, blurring the lines between subject and participant.
Elizabeth Holmes rose to fame as the founder of Theranos, a blood-testing startup that promised to revolutionise healthcare. The company collapsed after investigations revealed that its technology did not work as claimed, and Holmes was convicted on multiple counts of fraud. She was sentenced to prison and has since been the subject of numerous books, podcasts, and documentaries. Billy Evans, her partner, has largely remained out of the spotlight until now. The new documentary, directed by Nathan Fielder, known for his unconventional approach to comedy and documentary, appears to offer a unique perspective on the couple's post-conviction life.
The profit negotiation raises questions about the ethics and practicalities of documentary filmmaking, particularly when subjects become aware of the commercial potential of their own stories. It also highlights the ongoing public fascination with Holmes and the Theranos saga, which continues to generate media interest years after the company's downfall. The fact that Evans allegedly sought a profit share suggests that he may see the documentary as a commercial opportunity rather than simply a journalistic endeavour.
For British audiences, the story is a reminder of the global reach of the Theranos scandal and the enduring appetite for content about corporate fraud and its aftermath. The UK has its own history of business scandals, and the Theranos case serves as a cautionary tale about the dangers of unchecked ambition and the consequences of misleading investors. The documentary's inclusion of the profit negotiation adds a meta dimension, showing how the subjects themselves are attempting to capitalise on their notoriety.
Nathan Fielder is known for pushing boundaries in his work, often creating situations that blur reality and performance. His involvement in this project suggests that the documentary will not be a straightforward retelling of the Theranos story but rather an exploration of the media circus surrounding it. The negotiation over profits could be seen as a commentary on the commodification of scandal and the ways in which individuals involved in high-profile cases seek to benefit from the attention.
The documentary is expected to draw significant interest from both business and culture audiences, given the intersection of corporate malfeasance, personal relationships, and media manipulation. It remains to be seen how the profit negotiation will be received by viewers and whether it will overshadow the main narrative about Holmes and Evans. For now, it stands as a striking example of how the lines between subject and storyteller can become blurred in the pursuit of a compelling narrative.
As the story continues to develop, it underscores the enduring legacy of Theranos and the public's continued fascination with the people at its centre. The documentary's handling of the profit demands will likely be scrutinised, but it also offers a rare glimpse into the business side of storytelling, where subjects may seek to turn their involvement into financial gain. This development adds another layer to the already complex tale of ambition, deception, and consequence.
8
