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Elizabeth Holmes—the former Silicon Valley CEO whose blood-testing startup, Theranos, was at the center of a 2018 fraud scandal—was found guilty on three counts of wire fraud and one of conspiracy to commit wire fraud in a San Jose, California, court on Monday. “The guilty verdicts in this case reflect Ms. Holmes’s culpability in this large-scale investor fraud, and she must now face sentencing for her crimes,” said U.S. Attorney Stephanie Hinds in a statement. Holmes’s crimes captivated the world, in no small part thanks to Wall Street Journal reporter John Carreyrou’s book Bad Blood, the ABC News podcast The Dropout, and the HBO documentary The Inventor: Out for Blood in Silicon Valley, all of which chronicled Holmes’s quick rise and precipitous fall as CEO of Theranos. Theranos, which a 19-year-old Holmes founded in 2003 after dropping out of Stanford, promised to revolutionize the health care industry by using very small amounts of blood to test for hundreds of medical conditions.
Elizabeth Holmes—the former Silicon Valley CEO whose blood-testing startup, Theranos, was at the center of a 2018 fraud scandal—was found guilty on three counts of wire fraud and one of conspiracy to commit wire fraud in a San Jose, California, court on Monday. “The guilty verdicts in this case reflect Ms. Holmes’s culpability in this large-scale investor fraud, and she must now face sentencing for her crimes,” said U.S. Attorney Stephanie Hinds in a statement. Holmes’s crimes captivated the world, in no small part thanks to Wall Street Journal reporter John Carreyrou’s book Bad Blood, the ABC News podcast The Dropout, and the HBO documentary The Inventor: Out for Blood in Silicon Valley, all of which chronicled Holmes’s quick rise and precipitous fall as CEO of Theranos. Theranos, which a 19-year-old Holmes founded in 2003 after dropping out of Stanford, promised to revolutionize the health care industry by using very small amounts of blood to test for hundreds of medical conditions.
Teenagers may have already been overexposed and over-adultified and already participating in the kinds of things Euphoria depicts—but the last thing we needed was a vehicle to further romanticize our self-destructiveness. The last thing we needed was the conglomeration of all of our local sources of social pressure into one glimmery, sexy national emblem for what it meant to be an angsty teen. The problem with Euphoria isn’t that it is attempting to endorse what it illustrates; the problem with Euphoria is that it isn’t attempting to do anything at all. And by simply showing what it shows, how it shows it, it inadvertently endorses it anyway. Like many of my peers, I was riveted by the first season of Euphoria’s acting and production and the relatability of its characters. It felt like tacit permission for all of our most irresponsible decisions. With the second season comes an opportunity for the show to redeem itself and retract that permission—or to double down on its faults. Previews of the new season have depicted similar visual and emotional themes as the first, but if season two cannot find a thesis to accompany its visuals, Euphoria will find itself right where it left off.
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