“You Can See Everything” really is that good. Why would I deceive you?
by Avery Abruzzo
As someone who listened to a podcast episode about Theranos in 2020, I thought I had a vague idea of what to expect when I stepped into the theater for this movie. I could not have been more wrong. For the entire first portion of “You Can See Everything”, Nathan Fielder takes the viewer along as he attempts to peel back Elizabeth Holmes’ façade leading up to the start of her prison sentence. Thanks to his storytelling, there was a myriad of questions in my mind as Holmes walked toward her confinement, and the second part answered precisely none of them. The second portion of the movie is an incredibly compelling example of the consequences of unconscious bias. As Fielder’s narrative falls apart before the viewer’s eyes, aided by Amanda Seyfried’s careful dissection, we’re forced to reconsider just how objective his previous representation of Holmes really was, especially when, at the end, the film heavily implies that Fielder’s perception of Holmes was clouded by budding romantic feelings for her. As viewers, we often presume omniscience, especially when our documentarian is as close and personal as Fielder was to Holmes. But at the end of the film, it’s clear that no one — not Fielder, and certainly not us — can really see everything.
Heartbreaking: The worst person you know is dating the second worst person you know.
by Anna Faith McIntyre
The dynamics of this movie can best be described as when meet your friend’s terrible boyfriend and you wonder how she could stand being with such a jerk. Then something happens that reveals that she’s also a huge jerk and they’re actually a match made in heaven (or hell). The moment Billy opened his jowl-bracketed mouth, I turned to Avery and said, “I hate this guy.” Billy and Elizabeth interact with the sincerity of two AI chatbots that have gained sentience: that is, to say, none. Their story is sort of romantic, in a sick way: Two people, hurtling through life powered by unchecked ambition and unencumbered by the education to support it, wreak havoc on the lives of anyone who enters their orbit. Kind of like a bio-tech Bonnie and Clyde.
Pretty much no one can see everything, except maybe Amanda Seyfried?
by Kate Maze
Freud would have a field day with Elizabeth Holmes, and frankly, so would I. “You Can See Everything” had me questioning if Holmes’ infamous “a character I created” quote was a misquotation, a Freudian slip or the most (admittedly accidental) honest thing she’s ever said. After watching Nathan Fielder dissect two little pronouns with the intensity of a federal investigation, I’ve decided I trust absolutely no one involved. Not Holmes, certainly not Billy, and maybe not even Fielder. The only person I trust is Amanda Seyfried. At least she admits she’s acting.
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