In an announcement released Thursday, Fujifilm said it will invest roughly 10 billion yen (about $63 million) to increase its production capacity fivefold for an unlikely beneficiary of the AI era: magnetic tape.

Fujifilm attributes the surge in archiving demand to the spread of generative AI, which the company remarked is producing "exponential growth" in data needs worldwide. The 5x increase in production capacity will be measured against fiscal year 2025 production levels.

The investment in Fujifilm's Kanagawa Factory, Odawara site will make it "the largest investment Fujifilm has made to date in dedicated LTO tape facilities." The project will run from fiscal years 2026 through 2028 to fund manufacturing expansion and additional personnel, primarily to produce the latest-generation "FUJIFILM LTO Ultrium10" tape.

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In 2015, biomedical entrepreneur Elizabeth Holmes was Silicon Valley's golden girl, lauded as the youngest and richest self-made female billionaire thanks to the company she founded, Theranos, which was valued at $9 billion at the height of its success. Then it all came crashing down when accusations of fraud surfaced about the company's signature blood-testing device, culminating in a sensational trial. Holmes was convicted on four counts and sentenced to 11 years in prison.

Holmes is back in the headlines thanks to a new film, You Can See Everything, which depicts the final days before Holmes, having exhausted her appeals, went to prison. Co-directed by Nathan Fielder and Lance Oppenheim, it's a surreal, absurdist piece that has largely been received with gushing enthusiasm and no small amount of hype, with some declaring it the best film of the year. A few contrarian voices have emerged over the past week with much-needed reality checks, but there's no denying the film is destined to be an awards-season darling.

Pardon me for joining the buzzkills, but I cannot in good conscience jump on the You Can See Everything bandwagon. Sure, it has its moments, and the second half is highly entertaining, but there's nothing here to warrant all the breathless hyperbole. For all their much-touted access, Oppenheim and Fielder have produced a surprisingly shallow film that runs in circles, yielding very little fresh or novel insight—into Holmes, personally, or much else.

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