Nathan Fielder’s latest documentary, You Can See Everything, is a fascinating and frustrating exploration of the elusive Elizabeth Holmes, the disgraced founder of Theranos. The title, taken from a text message sent by Holmes to Fielder, is a clever play on words that sets the tone for the rest of the film. Holmes, who is currently serving an 11-year prison sentence for her role in the Theranos scandal, claims to be innocent and invites Fielder to document every aspect of her life.
The documentary is a wild ride, full of twists and turns that will keep you on the edge of your seat. Fielder’s skepticism of Holmes is palpable, and he remains wary of her throughout the film. But as the documentary progresses, it becomes clear that Holmes is a complex and multifaceted person who is difficult to pin down. She is a master of manipulation, and her defense of her actions is a semantics-laden tour de force that will leave you questioning what is true and what is not.
The Art of Manipulation
One of the most striking aspects of the documentary is Holmes’ use of language. She is a skilled wordsmith who uses words like “can” and “capable” to create a sense of ambiguity and confusion. When Fielder asks her to explain why the Theranos device was not capable of performing the tests it claimed to, she launches into a lengthy explanation of the difference between “can” and “capable.” It’s a dizzying display of linguistic gymnastics that will leave you wondering what she’s really trying to say.
But despite the documentary’s best efforts, the truth about Holmes remains elusive. Fielder’s footage of her is often shocking and revealing, but it’s also frustratingly incomplete. We see glimpses of her life, but we never really get to the bottom of what makes her tick. She’s a mystery, wrapped in a riddle, inside an enigma. And that’s what makes You Can See Everything so fascinating.
As the documentary comes to a close, Fielder reflects on the futility of his quest to understand Holmes. Despite having access to her and her family, despite having seen everything, he’s still not sure what to make of her. It’s a feeling that will be familiar to anyone who’s ever tried to follow the twists and turns of the Theranos saga. And it’s a testament to the enduring power of Holmes’ mystique that she remains an enigma, even after all these years.
The Enduring Power of Mystique
So what does it all mean? What can we take away from You Can See Everything? For one thing, it’s a reminder that the truth is often slippery and hard to pin down. Holmes is a master of manipulation, and her story is a testament to the power of words and images to shape our perceptions of reality. But it’s also a reminder that, no matter how hard we try, we can never really know everything. There’s always more to the story, more to the mystery, and more to the enigma that is Elizabeth Holmes.
And that’s what makes You Can See Everything so compelling. It’s a documentary that will keep you guessing, keep you thinking, and keep you wondering long after the credits roll. It’s a testament to the enduring power of mystique, and a reminder that, in the world of Hollywood, nothing is ever as it seems. Somewhere, a focus group is earning another bonus for helping to craft the perfect trailer for this film. And somewhere, an executive is nodding very seriously, convinced that they’ve created something truly special. But we all know the truth: in Hollywood, the only constant is the pursuit of the next big thing, no matter how fleeting or fabricated it may be.
Finn McFrame, celebrated satirical mastermind and self-proclaimed “Emperor of Irony,” started his illustrious career as a cinematographer, where his expertise in capturing every single frame of a squirrel stealing a baguette earned him accolades at obscure film festivals.
Born in the glamorous town of Boring, Oregon, Finn grew up with dreams of being a Hollywood director until he realized that satire, not cinema, was his true calling—or at least the one that let him sleep until noon.
Finn McFrame: changing the world, one satirical lens flare at a time.
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