The Dropout

A deft parable of entrepreneurial hubris
by
ABR Arts 11 April 2022

The Dropout

A deft parable of entrepreneurial hubris
by
ABR Arts 11 April 2022
Amanda Seyfried as Elizabeth Holmes in <em>The Dropout</em> (photo by: Beth Dubber/Hulu)
Amanda Seyfried as Elizabeth Holmes in The Dropout (photo by: Beth Dubber/Hulu)

If there is a logical successor to the twentieth-century gangster epic, it may well be the modern-day high-stakes corporate drama. Both revolve around merciless protagonists operating by their own dubious moral code, amassing wealth and influence as they leave a trail of bodies (literal or figurative) in their wake. Instead of intimidation and assassination, our new corporate anti-heroes leverage powerful attorneys and hostile takeovers. Instead of doing business in the smoke-filled backrooms of family restaurants, they operate in biophilic, open-plan offices (and on the stock exchange). Instead of working outside capitalist structures, they bend it to their will. And instead of concealing their crimes and leading a double life, they are openly celebrated, sitting on boards and delivering TED talks.

Leave a comment

If you are an ABR subscriber, you will need to sign in to post a comment.

If you have forgotten your sign in details, or if you receive an error message when trying to submit your comment, please email your comment (and the name of the article to which it relates) to ABR Comments. We will review your comment and, subject to approval, we will post it under your name.

Please note that all comments must be approved by ABR and comply with our Terms & Conditions.