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His Elizabeth Holmes documentary, You Can See Everything, is a deeply unethical piece of filmmaking.

Nathan Fielder’s three-hour Elizabeth Holmes film has become a pop culture phenomenon but at a sold-out Times Square screening, no one was quite sure what to think In You Can See Everything, it’s Elizabeth Holmes’s partner who makes for 2026’s timeliest villain Secrets, lies and a shock A-list cameo: how You Can See Everything became the film of the year When I see a film a second time during its theatrical run, it’s typically to take someone else who hasn’t yet seen it, at least in part hoping to witness their reaction to a piece of art that excited or moved me in some way. Seeing Lance Oppenheim and Nathan Fielder’s You Can See Everything a second time in New York City on a Saturday night was that impulse writ larger. This is a movie garnering a surprisingly sizable audience, and outsized audience reactions to go along with it; rewatching it in a full 300-seat auditorium offered the opportunity to re-experience that sense of discovery. Perhaps more to the point, almost everyone I knew had seen it already; all I could do was observe strangers. This documentary, peering into (and helping to create) a hall of mirrors around the famed med-tech scammer Elizabeth Holmes, has become the box office story of the fall, actually rising 25% on its second weekend to gross another $19.5m – a rare feat even given its expanded screen count. With over $45m in North America, it’s already one of A24’s biggest movies ever; it could wind up in the company’s top three, and way up on the list of the highest-grossing nonfiction features. If You Can See Everything isn’t quite an Obsession -level cash cow, it’s probably even more surprising that a three-hour documentary whose existence was only announced about eight weeks ago is on track to make more money than high-profile new releases like Practical Magic 2, Verity and Street Fighter, among others. It’s also outgrossed co-director Oppenheim’s fellow A24 surprise hit Primetime , which has the benefit of genuine movie star Robert Pattinson. Continue reading...

Nathan Fielder’s Elizabeth Holmes documentary "You Can See Everything" helps increase the streaming viewership of Amanda Seyfried’s "The Dropout," starring Seyfried as the disgraced Theranos founder.

“Clayface” was No. 1 at the box office, but “You Can See Everything,” a documentary about the disgraced Theranos founder, surged in its second weekend.

The viral documentary about the Theranos founder from Nathan Fielder and Lance Oppenheim expanded to 2,655 theaters after initially opening in just 855 locations.

The Elizabeth Holmes documentary "You Can See Everything," from Nathan Fielder and Lance Oppenheim, is projected to have another big weekend at the domestic box office.

"You Can See Everything," the documentary co-directed by Lance Oppenheim and Nathan Fielder, is a breakthrough success. It follows Elizabeth Holmes, the convicted founder of Theranos, just weeks before she goes to prison. The intimate access and the questions it raises are the talk of this fall movie season. Jeffrey Brown sat down with Alissa Wilkinson for our arts and culture series, CANVAS.

In less than two decades, Elizabeth Holmes went from Stanford dropout and Silicon Valley superstar to convicted fraudster.

Nathan Fielder and Lance Oppenheim’s You Can See Everything has packed movie theaters and set records at the box office. It’s also kicked off a debate about, well, pretty much everything that happens on screen – including whether the film's subjects, notorious fraudster Elizabeth Holmes and her mysterious partner Billy Evans, can ever be trusted. Carter Sherman and Guardian arts writer Adrian Horton break down Horton's five-star review of the film, analyze Evans's most shocking moments and chart Holmes' trajectory from girlboss to (maybe) tradwife. They want to know: how did ideas about gender and sex shape this film? Contains spoilers Continue reading...

The new superhero -- or in this case, supervillain -- offering from DC Studios is set to face a tight battle at the box office this weekend with the success of the documentary "You Can See Everything," which follows Theranos founder Elizabeth Holmes before her prison sentence.

One of the film’s stranger aspects is Holmes agreeing to film her and her family before she went to prison.

In today’s Backstory, the new Holmes film takes issue with our profile, Nikole Hannah-Jones unpacks her viral essay and a professor shares why he thinks we apply “conservative” and “liberal” labels inconsistently.

One of the film’s stranger aspects is Holmes agreeing to film her and her family before she went to prison.

You Can See Everything, a documentary about the disgraced biotech company founder Elizabeth Holmes, has enjoyed a record-breaking opening in the US. It is a testament to how fascinated we remain by the convicted fraudster, but what is behind the enduring appeal? US technology editor Blake Montgomery tells Madeleine Finlay why Holmes continues to fascinate us, and reflects on whether the Theranos scandal has had a permanent impact on Silicon Valley Continue reading...

You Can See Everything, a documentary about the disgraced biotech company founder Elizabeth Holmes, has enjoyed a record-breaking opening in the US. It is a testament to how fascinated we remain by the convicted fraudster, but what is behind the enduring appeal? US technology editor Blake Montgomery tells Madeleine Finlay why Holmes continues to fascinate us, and reflects on whether the Theranos scandal has had a permanent impact on Silicon Valley Clip: You Can See Everything, A24 ‘You can’t make this stuff up’: why we remain fascinated by Elizabeth Holmes Continue reading...

The hit documentary 'You Can See Everything' is dividing audiences with a scene focused on Charlie Kirk making conservatives out as bad guys. The post Elizabeth Holmes Doc ‘You Can See Everything’ Divides Audiences with ‘F**king Ridiculous’ Charlie Kirk Scene appeared first on Breitbart .

With You Can See Everything, Holmes joins other such high-profile subjects as Lance Armstrong, Imelda Marcos and Anthony Weiner to allow film-makers to document their lives. But do they ever come out well? In You Can See Everything, convicted fraudster Elizabeth Holmes invites film-makers Nathan Fielder and Lance Oppenheim into her home in a supposed act of “radical transparency”. Holmes is filmed, along with her partner, Billy Evans, and their two young children, in the weeks before starting a prison sentence for defrauding Theranos investors. “The best way for people to see who she is,” Evans says, “is to give as much access as possible into our daily lives”. It may also be the best way to market “Theranos 2.0”, which the couple are working on during filming. But the documentary questions whether Holmes is presenting her authentic self or a manufactured persona. Fielder speaks for the audience when he asks Holmes in a tense exchange whether she’s “being real” with him. “I’m always being real,” she says. That question of authenticity is at the heart of documentary film-making. You Can See Everything is as much about the ambiguous relationship between film-maker and subject as it is about Holmes herself. There is often a power struggle over narrative control in documentaries, with both sides of the dynamic wanting different outcomes from the final film. Watching You Can See Everything inevitably prompts the question: why would Holmes, days before she heads to jail, invite the scrutiny of a film crew? Continue reading...

Views of “The Dropout,” a 2022 Hulu miniseries about convicted fraudster Elizabeth Holmes, surged 400% the day after new documentary “You Can See Everything” opened in theaters.

Tickets for film about Theranos founder Elizabeth Holmes said to be selling out after $15m opening weekend in the US It is the film everyone seems to be talking about, spawning memes and fuelling feverish online debate about its subject, the disgraced Theranos founder Elizabeth Holmes. Now, a month before Nathan Fielder’s documentary You Can See Everything reaches UK cinemas, tickets for screenings are already selling out after its remarkable $15m (£11.3m) opening weekend in the US. Continue reading...