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The October 25, 2026 issue of The Profile is a five-person roundup, not a single biography. Its most revealing pairings are filmmaker Lance Oppenheim and comedian Nathan Fielder, whose documentary You Can See Everything examines Elizabeth Holmes through deliberately uncertain access, and Larry David, whose eventual success followed years of failed jobs, difficult stand-up sets and a refusal to surrender creative control. The issue also summarizes profiles of Binance founder Changpeng Zhao and fintech executive Jackie Reses. Together, the pieces examine people who turned uncertainty, resistance or unconventional methods into a defining part of their public work.
What is covered in The Profile roundup?
The Sunday newsletter, published October 25, 2026, contains five short profile summaries. Changpeng Zhao and Jackie Reses receive brief treatments tied to linked reports in The New York Times and Bloomberg. The fuller editorial through-line runs through David, Oppenheim and Fielder: each built a career by challenging assumptions about how success, authorship or documentary truth should work.
| Profile | Central subject | What the issue emphasizes |
|---|---|---|
| Changpeng Zhao | Binance founder | A move from conviction and prison to a presidential pardon and renewed prominence; current financial and legal details require checking against the linked report. |
| Jackie Reses | Fintech executive | A career spanning carnival games, Goldman Sachs, Yahoo and Square before taking a controlling stake in Lead Bank; deal and valuation figures are time-sensitive. |
| Larry David | Comedian and writer | Early failures, difficult performances and an insistence on authorship that later became a creative advantage. |
| Lance Oppenheim | Documentary filmmaker | A “docufantasia” method that mixes observation, construction and subjective experience. |
| Nathan Fielder | Comedian and filmmaker | His collaboration with Oppenheim on a Holmes film and the unresolved question of what their subjects intended. |
How did Larry David almost fail before becoming a comedy landmark?
David’s “almost didn’t make it” story is grounded in unglamorous work rather than a single setback. Before fame, he sold irregular bras, drove cabs and limousines, and struggled as a stand-up comic. At 25, he recalled calling his mother and saying, “Ma, nothing is ever gonna happen for me. I’m never gonna be anything.”
His performances could be confrontational. The profile describes him walking offstage when frustrated, an early sign that pleasing an audience was less important to him than following his own comic instincts. He also refused writing credit for a script after deciding the finished work no longer represented him.
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That pattern of resistance became a strength. Friend and comedian Bill Scheft summarized David’s independence this way: “He has the fuck-you money because he’s always acted this way.” The point is not that money created his freedom; the profile argues that David behaved as an author before commercial success made that behavior safe.
Where can readers find a longer account?
Blake J. Harris expands on the career in Emperor of Nothing: The Making of Larry David. HarperCollins’ product page showed the book out of stock when checked, so availability may change. The biography concerns David, not the other four people in the newsletter.
What makes Lance Oppenheim’s documentary style unusual?
Oppenheim uses framing, sound and sometimes staged or collaborative encounters to approach a subject’s inner life. He calls the approach “docufantasia,” a term that acknowledges that a camera does not simply record a neutral world. As cinematographer David Bolen puts it in the profile, “There is no objective reality”: entering a space with a camera changes the people and atmosphere being filmed.
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This method can blur the usual boundary between observation and construction. Oppenheim may shape circumstances to reveal a feeling or contradiction that a purely observational camera would miss. The result asks viewers to consider both what happened and how the filmmaking itself influenced what they see.
Why did Oppenheim and Nathan Fielder change their approach for the Elizabeth Holmes film?
You Can See Everything was codirected by Oppenheim and Fielder. Their subject was Holmes, whose conviction and prison sentence made questions of performance and credibility central to the project. Oppenheim’s earlier willingness to stage encounters was moderated here because overt construction could intensify doubts about authenticity in a film involving someone the filmmakers considered potentially manipulative.
The New York Magazine/Vulture account describes a seven-person crew filming at Holmes’s home for up to 16 hours a day during a month. WIRED reports a 34-day central filming period with Holmes and her family. These are production details from this project, not general documentary-industry benchmarks.
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What did Elizabeth and Billy think they were bringing the filmmakers in to tell?
That question, posed in WIRED’s interview, remains deliberately open. Fielder said he was drawn by curiosity about Holmes and by the possibility that he himself might be manipulated. He described trying to push back on claims he found questionable while remaining unsure how to interpret the access he had been given.
Shortly before release, Holmes called Fielder from prison and said, “I trust you,” twice. He said he did not know what she meant. The anecdote matters precisely because neither the film’s access nor Holmes’s words receive a definitive explanation in his account.
What do the five profiles have in common?
They are not competing career models. They show different ways of exercising control when circumstances are unstable:
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- David protects authorship: he would rather lose a credit or a booking than endorse work he no longer believes is his.
- Oppenheim shapes circumstances: composition and collaboration become tools for approaching subjective experience, while the Holmes project demanded restraint.
- Fielder preserves uncertainty: he investigates without claiming to know what Holmes intended or what her prison-call statement meant.
- Zhao and Reses represent reinvention: the issue frames both as figures whose public trajectories changed sharply, but their current financial and status claims should be verified in the original New York Times and Bloomberg reports.
The collection’s contrast is the point: one person survives repeated professional disappointment, two filmmakers negotiate the ethics of access, and two executives are presented through fast-moving career transitions. The issue treats contradiction not as a problem to smooth away, but as the material that makes each profile worth reading.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Frequently Asked Questions
Is The Profile issue a review of You Can See Everything?
No. It is a roundup that includes short summaries of five profiles. The Holmes documentary is represented through separate reporting on Oppenheim’s method and Fielder’s experience, rather than through a standalone film review.
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Where should I verify the current Changpeng Zhao details?
Use the linked New York Times profile itself for Zhao’s present legal status, wealth estimates and other time-sensitive claims. Those details can change, and the newsletter summary is not a substitute for the original report.
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Where should I verify Jackie Reses’s Lead Bank figures?
Check Bloomberg’s original profile before relying on any deal amount, valuation or projected-revenue figure. Such numbers are presented as current estimates and can change with later filings or transactions.
How long did filming at Holmes’s home last?
The accounts describe two related measures: WIRED reports 34 days of central filming, while New York Magazine/Vulture describes a month at the home with a seven-person crew working as long as 16 hours a day. They are project-specific production descriptions, not a standard schedule.
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