As I delve into this captivating tale about Vice and its downfall, I can’t help but feel a profound sense of familiarity, having navigated through the tumultuous waters of corporate America myself. The story of Vice is a cautionary tale for aspiring artists, a testament to the power dynamics that often lurk beneath the surface, and the struggle to maintain one’s integrity in the face of immense pressure.
“Eddie Huang, from his backyard in Los Angeles, stresses the importance of understanding how one’s art navigates the global, capitalist landscape,” he notes, having pondered deeply over the past year regarding the balance between artistic pursuits and corporate aspirations. This reflection comes as he embarks on his first documentary venture, Vice Is Broke, which chronicles the journey of Vice Media, his former employer.
Prior to his role as a documentary filmmaker, Huang was recognized for his work as a restaurant owner and author. He opened the popular BaoHaus in the Lower East Side and published his memoir titled “Fresh Off the Boat”, which eventually became a successful TV series on ABC. In 2012, he began collaborating with Vice, where he hosted and produced food-related content, including a YouTube series called “Fresh Off the Boat” as well as a travel show named “Huang’s World” that was aired on Viceland, Vice Media’s television network.
Huang expressed that working at Vice was like being part of a family, and they often referred to themselves as such. Consequently, he managed the business with a familial mindset. After spending more than five years at Vice and engaging a financial auditor, Huang found out that the company owed him over $380,000, comprising unpaid residuals among other things. However, he remained patient in hopes of being paid by his former collaborators. The Hollywood Reporter contacted Vice regarding the missing payment, but they did not respond before print time. Huang considered Shane Smith, co-founder of Vice Media and the person who built the company into a significant media empire, as a friend. But after waiting for four years, he began to understand that these individuals were not trustworthy.
Around that time of understanding, Vice sought Chapter 11 bankruptcy protection in May 2023, followed by a takeover the next month by a consortium headed by Fortress Investment Group. As Huang, formerly a corporate attorney who lost his job during the 2008 financial crisis, put it, “When bankruptcy struck, I felt it was my opportunity to speak out.” He then erased his debts with Fortress, reclaimed his show, and invalidated all non-disclosure agreements related to Vice, thus enabling him to pursue this endeavor freely.
With the fall of “Vice”, we follow the transformation of a Montreal-based punk publication into a significant player in Williamsburg, eventually growing into a media conglomerate worth almost $6 billion, backed by Disney. However, just a few years later, it was dismantled and sold off.
In a statement given to The Hollywood Reporter, a representative for Vice Media clarified that Eddie Huang was never an official employee of their company and currently holds no inside knowledge about it. Back in 2017, he did produce a television show for them, but it wasn’t renewed for further seasons. Any information he might have shared about Vice in the past is now outdated and no longer significant. Vice Media has since moved on to new ventures and has adapted its structure to fit the requirements and trends of the modern media industry.
Huang, who started working on the documentary just a few months ago in October 2023, notes that the subject matter of Vice lends itself well to a film style that features interviews (talking heads), which is often seen in business success and failure documentaries. However, unlike other films of this nature that typically center around those at the top, the focus of “Vice Is Broke” is on journalists, artists, and other creatives whose careers and lives suffered due to what Huang refers to as corporate greed.
Huang is conversing with ex-employees and collaborators of Vice, such as Jesse Pearson (former editor-in-chief) and David Choe (artist), who discuss instances where they were not fairly paid or acknowledged for their work. Additionally, he delves into the company’s financial transactions involving entities like Philip Morris and the Saudi government.
It’s quite appropriate, even evocative, for the documentary on Vice to be narrated in a fashion reminiscent of Vice itself, blending traditional journalistic styles with personal narratives.
According to Huang, the company’s wrongdoings, particularly those that occurred within a corporate environment, were the main focus. He mentions that when he started working with the company, he was required to sign an unusual workplace agreement. In a 2017 New York Times report, this same company was accused of nurturing a work environment where sexual harassment and other misconducts were prevalent. Responding to these allegations, Smith and Vice co-founder Suroosh Alvi released the following statement: “We have failed as a company to establish a secure and inclusive workplace where everyone, particularly women, can feel respected and prosper.” Huang adds that he held back from making this document too personal.
In an unexpected move, Gavin McInnes, known for co-founding Vice magazine and later parting ways with Smith, was one of the interviewees. Instead of relying on second-hand information, Huang decided to talk directly to McInnes about Vice’s early days and his role in shaping the publication’s voice. The interview, however, featured McInnes exhibiting the controversial behavior and racist comments he is notorious for, as described by Huang: “Within minutes of meeting, he flashed me his genitals,” says Huang, a scene that appears in the film.
However, the director firmly insists that this production is not intended to be a negative portrayal. On the contrary, “Vice Is Broke” serves as a platform for ex-employees to recollect moments from an environment where they felt free to express themselves genuinely and engage in work that other media companies would refuse. As Huang elucidates, “We had faith in Shane, and we were passionate about this project. It wasn’t merely a job; it was deeply personal for us.”
According to producer Ray Mansfield, what makes the documentary stand out is its universality. He’s the one behind the production of “Vice Is Broke,” his initial nonfiction feature, having worked on projects like Jordan Peele’s “Get Out” and Spike Lee’s “BlacKkKlansman.” Mansfield explains that for Eddie, “Vice” was a place where he could truly be himself, but unfortunately, they exploited not just him but many others. He goes on to say that it’s an increasingly rare few who reap the benefits while a growing number of people are contributing to their work.
Regarding the movie’s broad audience appeal, finding a distribution channel remains uncertain. The film Vice Is Broke, which has ties with companies that might distribute it (for instance, Disney), presents a narrative about such a predicament. Mansfield acknowledges they considered this possibility but chose to move forward regardless, stating, “We would be hypocritical if we allowed these connections to sway us, since we are criticizing such behavior.”
Huang expresses the hope that young artists perceive “Vice Is Broke” as a kind of warning story, or perhaps a cautionary tale with a twist. He explains, “I find it appalling how deeply corporations and big money are entangled in art and culture. I wish we could free ourselves from these grasping tendrils, nurturing artists more before their work becomes widespread.”
Reflecting on my journey back to the days of Vice, I can’t help but feel a reopening of old wounds. Yet, in an enthusiastic tone, I must say that this documentary is more than just a reminiscence; it’s a vibrant celebration of the unsung heroes who tirelessly worked in content creation before things took a turn. I even dare to call it a “party film”: “My perfect scenario would be to watch this at Alamo Drafthouse, indulge in buffalo cauliflower, and enjoy some less-than-stellar margaritas while getting tipsy.”
Originally published in the September 4th edition of The Hollywood Reporter magazine, you can access it by subscribing here.
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2024-09-06 02:25