It's amazing how the world bends around an interesting story; from the people driving the action, to the victims caught up in it, to the journalists trying to tell it to the masses. The tale of an unhealthy-driven CEO defrauding some of the world's most powerful people defies genre as it introduces new elements. Episode 7: "Heroes" comes from director Erica Watson, best known for helming a couple of episodes of Snowpiercer. The episode is written by Liz Heldens, the Passage and The Big Leap creator.
The pacing of The Dropout is a thing of beauty, weaving a story of several years into an eight-episode miniseries. It's well-portioned, intelligently spaced out, and covers all the fun parts. "Heroes", like "I'm in a Hurry" before it, is named after the excellent song that heralds it in. David Bowie's 1977 masterwork appears somewhat ironically in the episode, the primary driver of which is the suffering faced by the story's supposed heroes. Disparate forces, brought together by the singular goal to take down a greedy company before it hurts countless people, united only by the immense difficulty they face. Spoiling a story that happened in reality, to enormous public attention should logically be impossible, but seeing what's become of Richard Fuisz's life as he pursues vindication is genuinely chilling.
After Tyler Shultz, Erika Cheung, and Mark Roessler resolved to turn against Theranos, the company has struck back. Seeing the immense power of a wealthy corporation turned against a handful of regular people is terrifying. Legal action is viewed as the big threat, but the constant surveillance and the never-ending pressure of fighting a monolith weigh on the show's heroes. Dylan Minnette, Camryn Mi-Young Kim, and Kevin Sussman each do an excellent job selling their new roles. Every passing set of headlights or ringing phone sets them off, it's akin to corporate horror. Watching them break down is simultaneously tragic and hugely cathartic when things turn their way.
The villains of the tale naturally hold the spotlight, but Elizabeth and Sunny are less prominent in this episode. Taking a little more of the spotlight this time around is Theranos' legal team. Kurtwood Smith's David Boies remains an excellent intimidating lawyer. His presence is sharp and heavy, every character is put off by his presence. Even the people he represents are caught off guard by his actions, but he's far from infallible. The other big villain for the episode is Linda Tanner, the legal representative for the company. Michaela Watkins portrays this minor figure like she wandered in from Veep, she's diplomatic, careful, yet humorous in her unimpressed cruelty. She's excellent, perfectly portraying the barely-contained malice endemic to corporate America.
Tyler Shultz's interactions with Tanner, the threats lobbied against him, and the added pressure from his relationship with his grandfather is hugely impactful. George Shultz stands in for several other figures in the story who go unrepresented; old rich white men who fell for Holmes' lies and refused to see the truth. The show constantly name-checks well-known figures who were embroiled in the scandal, impressively using public recognition to sell a variety of scenes. An informed viewer knows exactly the kind of room the show is establishing when they drop Henry Kissinger's name and everyone seems excited. If there's a weakness to the series' name-dropping, it's that a couple of figures get to escape exploration. Rupert Murdoch plays a substantial role in this episode, but his involvement is swiftly removed.
John Carreyrou commands a heavy part of this episode, much of which is dedicated to the fateful Wall Street Journal story he will write. His work in the newsroom and his back and forth with his boss feels like it's straight out of Spotlight and very well-executed. The tense back and forth between the two, then their standoff with Theranos' legal team, are highlights of the episode and the series. Aspects of it feel a bit overwritten, but foreshadowing or planting and the payoff can be tough in a narrative as publicly known as this one. Ebon Moss-Bachrach's performance as the respected journalist is solid, equally burdened by the stress of fighting billionaires and driven by the desire to get the truth out.
Holmes and Balwani's spiteful efforts to prevent the truth from getting out dominate their role in the episode. There's something especially unpleasant about the fact that even as their plot unravels, and they turn against each other, every other scene depicts them in their mansion surrounded by luxury. The backdrops tell a story; crime pays and seeking justice takes a toll. Early moments in the show attempt to depict Holmes's media profile by digitally editing Seyfried into real interviews she had with famous figures. Seeing her deliver her manicured company line to Bill Clinton, or the current president sing her praises very effectively establishes her credibility. The world wanted to believe her, just like her investors, and when the truth comes out, the fallout will be legendary.
This episode of The Dropout ends with Carreyrou's initial Wall Street Journal piece coming out, and the company reacting poorly. The downfall has just begun, however, and fans must tune in to see the final chapter next week.