Fielder's most notable projects include Nathan For You, a comedy series that aired on Comedy Central, and The Rehearsal, which premiered on HBO. On both shows, he used unorthodox methods to help people overcome personal challenges or improve their skills in unconventional ways. His goal is not just to entertain but also to observe human behavior in its most raw and honest form.

Fielder's approach often involves staging elaborate ruses that allow him and his audience to witness the uncanny behavior of regular people. By creating these intricate scenarios, he forces individuals to confront their own limitations and biases. While his methods may be unorthodox, they are always aimed at revealing new possibilities for human understanding.

The line between documentary and reality TV is intentionally blurred in Fielder's work, making it difficult to separate what we see from what we already know. His projects often raise more questions than answers, leaving viewers to ponder the nature of truth and observation.

The documentary series "You Can See Everything" delves into the life of Elizabeth Holmes, founder of Theranos, who was convicted of defrauding investors and the public about her revolutionary blood-testing device.

As part of this project, filmmaker Fielder has gained unprecedented access to Holmes' personal life, capturing intimate moments with her husband Billy Evans in their seaside rental home in Del Mar, California.

This is a stark contrast to earlier portrayals of Holmes, where she was often seen as the embodiment of Silicon Valley's glamour and innovation, with her signature sleek black turtleneck and crystal-blue eyes dominating magazine covers.

The couple has invited Fielder into their home 24/7, allowing him to observe Holmes in a more candid light, but his attempts at objective portrayal have led to a story full of complexities and contradictions.

The documentary's portrayal of Elizabeth Holmes is a masterclass in complexity, as Nathan Fielder's attempts at objective storytelling are constantly thwarted by the subject's own narrative.

Fielder's presence in Holmes' life feels like an unlikely convergence of events, given his background as a character and a person who studies her. This unusual dynamic creates a sense of tension between the two, with Fielder's trickster tactics serving as a counterpoint to Holmes' carefully constructed reality.

The documentary highlights the stark contrast between the public perception of Holmes and her private self. Despite being convicted on four counts of corporate fraud in January 2022, Holmes seems oblivious to the severity of her actions, instead choosing to downplay them with semantic games.

Holmes' assertion that she is incapable of lying raises more questions than answers, particularly when juxtaposed with Fielder's efforts to understand her motivations and actions. As he delves deeper into the couple's lives, it becomes clear that they inhabit a reality designed by themselves, one that is intentionally opaque and resistant to scrutiny.

As Billy's behavior becomes increasingly controlling, he starts to manipulate what is visible to us, deliberately concealing aspects of his relationship with Holmes.

His actions are a stark contrast to his initial stance on transparency, and it soon becomes clear that his motivations may not be entirely altruistic. A pattern emerges where he dominates interactions with Holmes, often interrupting or stopping them abruptly when he feels the conversation is becoming too probing or challenging.

The parallels between Billy's behavior and his claims of media manipulation regarding Holmes' sentencing are striking, raising questions about his role in shaping her narrative. This blurs the lines between what we can trust as fact and what may be a carefully constructed facade.

With Holmes' absence from the documentary, space opens up for introspection, allowing Fielder to explore different perspectives on her subject's personality. In reenactments reminiscent of those in The Dropout, Seyfried brings a nuanced approach, grappling with the complexity of Holmes' character and weighing empathy against wariness as she tries to understand her true nature.

The documentary raises questions about the nature of truth and perception, as it delves into the complexities of human behavior. In one particularly striking moment, Holmes challenges a colleague on their own potential biases, serving as a kind of barometer for the audience to gauge the reliability of the narrative.

As the story unfolds, the contradictions and flaws in those involved become increasingly apparent, highlighting the inherent subjectivity of human experience. The documentary suggests that we are all prisoners of our own egos, perceiving the world through the lens of our individual preferences and experiences. Ultimately, this raises doubts about whether it's possible for anyone to truly know another person, or even themselves.

Harper's Bazaar: https://www.harpersbazaar.com/culture/film-tv/a74205456/you-can-see-everything-elizabeth-holmes-nathan-fielder/

As an outsider to the world of Elizabeth Holmes, I found myself drawn into the documentary's complex web of intrigue and deception. Without being overly familiar with the details of the Theranos scandal, I was able to approach the film without preconceptions. This allowed me to appreciate Fielder's unique perspective on the subject matter.

The film's format is reminiscent of Fielder's previous projects, such as The Rehearsal, where he pushes boundaries and defies expectations. In You Can See Everything, he enlists the help of Amanda Seyfried, who played Holmes in a Hulu miniseries, to aid in his investigation into her life.

Fielder's involvement with the project has sparked curiosity among viewers, who are eager to see what new twist or angle he will bring to the story. With Fielder at the helm, it is clear that You Can See Everything will not be a traditional documentary but rather an immersive and thought-provoking exploration of Holmes' life and motivations.

The documentary's portrayal of Holmes thus far has been a complex and intriguing one, showcasing her as both tragic and deceitful, yet simultaneously earnest in her endeavors.

However, despite its compelling nature, the film remains firmly rooted within the conventions of a traditional documentary at this stage.

That is, until Kristen Seyfried enters the narrative, bringing with her an added layer of complexity and depth that elevates the project beyond mere documentation.

The knowledge of her involvement beforehand did little to prepare me for the true impact of her participation in the film.

As Nathan Fielder continues to push boundaries, his latest collaboration has found him a willing partner in Emma Stone, who is not afraid to call out his narrative contrivances.

The project has become a meta-agenda of one-upmanship, with critics and audiences alike drawn into the complex web of ideas. For the first time, even commercial returns are acknowledging Fielder's innovative approach.

Fielder's latest venture, You Can See Everything, has brought about a shift in perspective, as his previous show, The Rehearsal, was initially overlooked by award committees, including the Emmys. However, with YCSE now in contention for Oscars consideration, pundits are debating its potential impact on the industry.

Fielder's recent comments at an after-party hinted that he may be taking a break from The Rehearsal, but his latest film suggests otherwise. You Can See Everything is essentially a large-scale expansion of what could have been a third season of The Rehearsal, opening up new avenues for exploration and potentially setting the stage for even more daring projects in the future.

The documentary "You Can See Everything has left many pondering its place in the canon of unconventional documentaries. Upon reflection, it is not hard to see why some might draw comparisons between Fielder's latest work and classic narrative films.

The way Fielder dresses Seyfried in the third act bears a striking resemblance to Jimmy Stewart's unsettling GRWM sequence with Kim Novak in Vertigo. This connection is reinforced by composer Ari Balouzian's score, which incorporates nods to Bernard Hermann's iconic style.

Fielder's affinity for revisiting and reinterpreting imagery is also reminiscent of Christopher Nolan's technique. Just as Nolan often returns to a single image throughout his films, each time imbuing it with new meaning and context, Fielder similarly employs this strategy in You Can See Everything".

The idea of a collaboration between Fielder and Nolan may seem like a far-fetched notion, but given their shared affinity for pushing boundaries and experimenting with form, the prospect is tantalizing.

GQ: https://www.gq.com/story/what-will-nathan-fielder-do-next

Oppenheim was in a unique position when we spoke to him earlier this month - flanked by a large poster of Robert Pattinson, who starred in and produced his recent feature film, Primetime. The 30-year-old director's life has been marked by collaborations with high-profile figures in Hollywood.

Just three weeks after the release of Primetime, Oppenheim's documentary You Can See Everything hit screens. This ambitious project saw him team up with Fielder to embed themselves in Elizabeth Holmes' California home in the days leading up to her 11-year prison sentence.

The experience was a far cry from his previous work on documentaries like Some Kind of Heaven and Ren Faire, which were more low-key productions with crews of around eight people. You Can See Everything, however, had a much larger crew and was Oppenheim's first scripted feature film.

Despite the differences in scale and scope, Oppenheim's movies are known for their intimate approach to storytelling. In some cases, this has led to subjects opening up to him in unexpected ways, even when they might not have wanted to.

The documentary You Can See Everything is a testament to Oppenheim's ability to connect with people from all walks of life. His previous films have shown that he can get those around him to share their stories and struggles, often with surprising results.

As a result of his work on these documentaries, Oppenheim has developed a reputation for getting close to his subjects, even if it means pushing boundaries and invading personal space.

Lance Oppenheim's life has been a whirlwind of personal and professional milestones in recent times. The filmmaker has been making waves with his debut feature, Primetime, as well as his documentary You Can See Everything.

The release of both films just days apart was not something he had anticipated or planned for. In fact, it has left him feeling a bit disoriented and unsure about how to process the reaction from audiences.

To gain insight into how people are responding to Primetime, Oppenheim took an unconventional approach - sneaking into movie theaters to watch his film on the big screen. This was a departure from his usual documentary-making routine, where he would typically test the film with friends and acquaintances before sharing it with a wider audience.

The experience of watching Primtime in theaters has been both fascinating and unsettling for Oppenheim. He has found himself drawn into the reactions of viewers, who are often polarized in their opinions about the film's portrayal of its subject matter.

One notable reaction came from Chris Hansen, a former TV host known for his work on investigative documentaries. Hansen was interviewed in You Can See Everything, but his response to Primetime has taken on a life of its own, with some viewers interpreting it as a commentary on good and evil.

Oppenheim maintains that this was not his intention, and he values the contributions that Hansen made to both films. The filmmaker's goal is to create documentaries that are thought-provoking and nuanced, rather than simplistic or sensationalized portrayals of complex issues.

As Oppenheim continues to navigate the aftermath of these film releases, it's clear that he is grappling with the blurred lines between his personal life and professional output.

As Oppenheim navigates the complexities of his personal life, he finds himself pondering the notion that reality is blurring into fiction. This sentiment is echoed in his own filmmaking endeavors, where he strives to create a sense of authenticity and truth.

Oppenheim's experience with the film Primetime has been marked by an unusual series of events. The production was put on hold due to various factors, but it eventually resumed as a documentary. This shift in direction was influenced by the connections he made during this time, including befriending filmmaker Romain Gavras and meeting Rob.

The making of Primetime has also been intertwined with Oppenheim's personal life in unexpected ways. Just four days before his initial conversation with Rob, his film Spermworld had its premiere, and he received a Cameo from Chris Hansen as a gift from his wife. This unusual encounter sparked an interest in exploring the intersection of reality and fiction.

The script for Primetime arrived just after Oppenheim's accidental pregnancy while on location in Joshua Tree. This pivotal moment coincided with a period of intense personal loss, including the passing of close friend Jeff Baena, to whom the film is dedicated. Amidst the darkness surrounding him, Oppenheim found solace in his family and creative pursuits.

The narrative threads of Primetime are deeply intertwined with Oppenheim's own experiences and emotions. As he grapples with the complexities of life, he is also navigating the challenges of filmmaking. The boundaries between reality and fiction continue to blur, raising questions about the nature of truth and authenticity in art.

Oppenheim's personal journey has been marked by both joy and hardship, but it is his capacity for resilience that shines through in his work. His commitment to capturing the essence of human experience is evident in Primetime, a film that embodies the complexities and contradictions of life.

The making of Primtime has been a deeply personal odyssey for Oppenheim, one that has pushed him to confront the darker aspects of reality while celebrating the beauty and wonder that surrounds us all. As he continues to navigate this complex web of emotions and experiences, it is clear that his art will remain an honest reflection of the world around him.

Oppenheim's journey with Primetime serves as a testament to the transformative power of art and its ability to capture the essence of human experience. Through his work, he invites us to reflect on our own lives and the complexities that we all face.

As a filmmaker, Lance Oppenheim has developed a unique approach to processing his emotions and creating meaningful work.

He admits to being an emotional person, but instead of dwelling on his feelings, he channels them into his films.

Making movies is not just a profession for Oppenheim, it's a way of life that allows him to connect with others and explore complex themes.

His personal relationships have also influenced his filmmaking style, as evident in the close bonds he shares with his collaborators, including his cinematographer and producer.

Oppenheim has been fortunate to work with talented individuals who share his passion for storytelling, and these collaborations have led to some of his most notable works.

The process of making a film can be therapeutic for Oppenheim, allowing him to externalize his emotions in a way that writing or traditional therapy cannot.

As he navigates the complexities of masculinity through his characters, Oppenheim draws from personal experiences, including those related to fatherhood and identity.

Navigating unconventional forms of masculinity is a theme that Oppenheim explores through his collaborations with Nathan Fielder. This exploration is particularly evident in their joint project, You Can See Everything, which blends traditional documentary filmmaking with more experimental techniques.

One aspect of Fielder's persona that Oppenheim finds intriguing is his display of hyper-masculinity. However, this trait is not necessarily something that Oppenheim aspires to emulate himself. In fact, he views it as a unique and interesting characteristic that sets Fielder apart from others.

Fielder's unconventional approach to masculinity has been a subject of interest for Oppenheim in the past. He notes that Fielder's portrayal of masculinity is most pronounced in You Can See Everything. This observation highlights the ways in which Oppenheim seeks to understand and capture different forms of masculinity through his work.

In You Can See Everything, Oppenheim had the opportunity to collaborate with Nathan Fielder as both a co-director and on-screen presence. Initially, the plan was not for Fielder to appear on camera, but he eventually became an integral part of the project. This shift in approach allowed Oppenheim to experiment with new styles of filmmaking.

The film's use of observational vérité techniques is reminiscent of classic documentary films from the past. By embracing this style, Oppenheim aimed to capture moments and events as they unfolded without imposing a predetermined narrative or aesthetic. The result was a unique blend of traditional documentary filmmaking and more experimental approaches.

Oppenheim has also drawn inspiration from other filmmakers who have pushed the boundaries of documentary storytelling. He cites Errol Morris's use of reenactments in The Thin Blue Line as an example of innovative filmmaking techniques that he sought to incorporate into his own work.

The film's style was intentionally minimalist, avoiding embellishments or artistic commentary in favor of a more straightforward, observational approach. This decision allowed Oppenheim to focus on the subject matter rather than imposing his own creative vision on the project.

The unique challenge of capturing the intense dynamics between Elizabeth Holmes and her family members led to some unorthodox filming techniques. To transport the audience into the room and convey the "intense cognitive dissonance" experienced by the filmmakers, a different approach was needed.

Nathan Chytle, Elizabeth's brother, was not initially on camera, but his interactions with Holmes and Billy Evans were still captured through a series of questions that seemed to draw him out from behind the scenes. This unusual dynamic added an extra layer of tension to the already charged atmosphere.

After the first day of filming, Lance Oppenheim felt defeated, acknowledging that he had failed in capturing the essence of the situation. He apologized to Nathan and conceded that his approach wasn't working, paving the way for new strategies to be implemented.

To rectify this issue, Oppenheim brought in additional cameras with high-quality lenses, allowing his team to capture a wider range of possibilities within the confined space. This included shooting for extended periods of 16 hours a day, which proved instrumental in capturing the complexities of the family's interactions.

As filming progressed, Oppenheim continued to adapt and innovate, introducing a new wide-angle camera with a 12-millimeter lens that he operated personally. This decision allowed him to experiment with fresh perspectives and capture the unique nuances of the situation.

The end result was a groundbreaking documentary that blended the distinct styles and sensibilities of both Oppenheim and Chytle. The film's innovative approach and immersive experience have set it apart from traditional documentaries, making it an unforgettable viewing experience.

GQ: https://www.gq.com/story/lance-oppenheim-interview

Carreyrou's book was a bestseller when released in 2018 and provided a captivating narrative of the events leading to Theranos' demise. The new documentary, You Can See Everything, offers a different perspective on Holmes, focusing on her home life as she prepares for prison. This shift in focus has thrust both Holmes and Carreyrou back into the spotlight.

The documentary's success is evident in its estimated $15 million opening weekend, making it the second-biggest opening for a documentary ever. It follows comedian Nathan Fielder as he lives in the guest house of Holmes' home with her partner Billy Evans and their two children before she goes to prison.

The documentary about Elizabeth Holmes has been widely praised for its artistry and unique structure, but one journalist who knows the story intimately is cautioning against getting too caught up in its cinematic qualities.

Journalist John Carreyrou, who exposed the Theranos scandal through his reporting, said he was initially won over by the film's meta-thinking and unusual approach after watching it twice. However, he emphasized that the documentary doesn't tell the full story of the fraud perpetrated by Holmes and her team.

Carreyrou took to social media platform X to express his views, stating that while the film is a great piece of art, it should not be confused with the underlying facts of the case. He warned that some viewers might miss the details of what he experienced during his reporting, including the legal threats he received from Theranos' lawyers.

Carreyrou revealed that Holmes and her team went after two of his sources, Tyler Shultz and Erika Cheung, with relentless force, while he himself faced daily litigation threats for months. He described it as a ruthless cover-up of an enormous fraud, with Holmes at the helm.

The grandiose promises made by Theranos' leadership were far from reality. The company's machines were capable of performing only a limited number of medical tests and often produced unreliable results. This was in stark contrast to Holmes' claims that the technology could run hundreds of tests with just a few drops of blood from a finger prick. The exaggerated capabilities were marketed as a way to make testing more accessible and affordable for patients.

Holmes' misleading statements extended beyond the technical capabilities of Theranos' machines. She also made false claims about the company's business prospects, telling investors that it would bring in $1 billion in revenue in 2015. However, according to the Justice Department, this figure was far from accurate, with actual revenue being negligible.

Theranos' attempts to silence a critical reporter are well-documented. The company's lawyers tried to kill his story by appealing directly to Rupert Murdoch, the billionaire owner of the Wall Street Journal and a Theranos investor. This effort was part of a broader campaign to discredit Carreyrou's reporting.

The pressure on Carreyrou was relentless, with Theranos' lawyers confronting him at the newspaper's offices in a five-hour meeting. Despite these efforts, his reporting ultimately exposed the truth about Theranos' activities.

The documentary about Elizabeth Holmes' rise and fall from Theranos' CEO left some viewers feeling frustrated, according to a recent interview on the Hard Fork" podcast.

When questioned by the interviewer, Holmes maintained her innocence despite mounting evidence of wrongdoing, prompting one observer to wish for more probing questions. This lack of skepticism was seen as overly polite, with some wishing for a tougher approach.

Tyler Shultz, a former Theranos employee and grandson of George Shultz, who served on the company's board, has spoken out about Holmes' actions. He believes she knowingly created a complex web of deceit that would have been unnecessary if her claims were genuine.

Holmes was found guilty in 2022 of three counts of wire fraud and one count of conspiracy to commit wire fraud for deceiving investors. She received an initial sentence of over 11 years, with her former business partner Sunny Balwani ordered to pay $452 million in restitution alongside her.

A federal appeals court upheld Holmes' conviction last year, but a subsequent adjustment to the sentencing guidelines led to a reduction in her prison term to 10 years and three months. She is currently scheduled for release from a halfway house in 2027 and will be eligible for full release by 2030.

The documentary on Elizabeth Holmes has sparked a mix of emotions among those familiar with her story, including investigative journalist Mathew Carreyrou. Despite his history with Holmes, he believes the film sheds light on some of her contradictions.

In one pivotal scene, Holmes makes an outlandish claim that she has never lied in her life, a statement that Carreyrou finds utterly unbelievable. This assertion only serves to underscore the damage to her already tarnished reputation, and it is evidence for him that the documentary's portrayal had the opposite effect of what some might assume.

Carreyrou believes Holmes' statement comes across as absurd and impossible to believe, making her look even worse in the process.

Fortune: https://fortune.com/2026/10/20/john-carreyrou-theranos-whistleblower-elizabeth-holmes-you-can-see-everything-documentary-nathan-fielder-fraud-bad-blood/

At its core, the film's innovative approach raises questions about the artificiality of documentary filmmaking itself. By subverting expectations and blurring the lines between reality and fiction, Fielder and his co-director Lance Oppenheim create a unique viewing experience.

The subject of the film is none other than Elizabeth Holmes, the infamous founder of Theranos who has been extensively covered in various forms of media. One might wonder what additional insights this documentary could possibly offer into her story.

However, given Nathan Fielder's background as a mastermind of absurdist-comedy projects like Nathan For You" and "The Rehearsal, it's not surprising that he would tackle the subject with an unconventional approach.

The film Everything leaves viewers questioning what is real and what is fabricated, keeping them engaged long after the initial shock of its unconventional approach has worn off.

This ambiguity is a hallmark of Nathan Fielder's work, which often blurs the lines between reality and performance, challenging our perceptions of narrative and authorship.

Fielder's collaboration with Ariel Oppenheim on Everything positions them in a lineage of filmmakers who have pushed the boundaries of genre and form, exploring themes that are particularly relevant today.

This film, like Fielder's earlier work, challenges viewers to think critically about the stories we tell and the power dynamics at play in their creation.

Nathan Fielder's work often blurs the lines between reality and fiction, but one of his early projects, Finding Frances, laid the groundwork for this approach.

In this film, Fielder stages a mock reunion between the subject and an old flame, allowing the subject to rehearse their interactions in advance. This innovative technique would later become a hallmark of Fielder's work in The Rehearsal.

The use of this method in Finding Frances was likely an early experiment with what would eventually become the central concept of The Rehearsal. It shows Fielder thinking creatively about how people interact and how relationships can be influenced by external factors.

This kind of experimentation is reminiscent of other filmmakers who push the boundaries of documentary storytelling, such as Ross McElwee in his 1986 film Sherman's March.

The 1969 film Medium Cool directed by Haskell Wexler is notable for pushing the boundaries of traditional documentary storytelling and raising questions about media ethics.

This film's narrative follows a news reporter who uncovers a conspiracy involving his station seeding information to the FBI, blurring the lines between fiction and reality. The movie integrates real-life events from 1968 into its storyline in a striking way.

The climax of Medium Cool sees actors and crew caught up in a violent protest at the 1968 Democratic National Convention in Chicago, further underscoring the film's themes of media manipulation and the blurring of fact and fiction.

In his review of Medium Cool, Roger Ebert wrote that there are fictional characters in real situations [and] there are real characters in fictional situations," cautioning against separating reality from fiction. This approach challenges traditional notions of documentary filmmaking.

Abbas Kiarostami's 1990 film Close-Up is a landmark of neorealist cinema and has become an international sensation. The movie tells the true story of a cinephile who impersonated a famous Iranian filmmaker, leading to a trial for fraud.

Jafar Panahi's latest film, No Bears, is a testament to his unwavering dedication to filmmaking despite facing severe government restrictions.

The Iranian filmmaker has been repeatedly arrested, imprisoned, and formally banned from making films by the Iranian government, but he continues to defy these obstacles with remarkable courage.

In No Bears, Panahi takes on a fictionalized version of himself, remotely directing a docu-drama in Turkey from his small village in Iran. The production is fraught with challenges that mirror the real-life struggles faced by artists under oppressive regimes.

The film's neorealist style and blend of fact and fiction pay homage to Panahi's mentor, Abbas Kiarostami, while also highlighting the risks involved in creating art under such conditions.

The film Blue Heron, directed by Romvari, takes a personal approach in exploring the complexities of grief and memory through its semi-autobiographical narrative. The story revolves around a filmmaker struggling to comprehend her enigmatic half-brother who passed away before she was old enough to know him.

Romvari employs unconventional structural choices, blending documentary with scripted narrative, to convey the protagonist's futile search for truth about her brother. This approach highlights the challenges of capturing someone's essence or truth through art, emphasizing that it is impossible to fully understand another person.

Ultimately, Blue Heron presents a poignant exploration of the human experience, where memory and grief intersect with artistic expression.

GQ: https://www.gq.com/story/movies-like-nathan-fielder

However, attention was focused on another release: the nearly three-hour documentary about Elizabeth Holmes, You Can See Everything. The buzz surrounding this film suggests a strong cultural impact, despite its modest box office numbers compared to other releases.

In a remarkable turn of events, You Can See Everything earned an impressive $15 million from just 855 screens. This figure is all the more notable given that it had over 2,000 sellout showings over the weekend.

The documentary You Can See Everything has been making waves at the box office, despite being made on a relatively modest budget of under $7 million. The film's creators, Nathan Fielder and Lance Oppenheim, spent three years secretly working on the project, which offers an intimate look at Elizabeth Holmes' life.

The reviews for You Can See Everything have been overwhelmingly positive, with 99% of critics praising the documentary on Rotten Tomatoes and a Metacritic score of 99. Audiences are also enthusiastic, with 91% giving it a definite recommend according to PostTrak exit polls.

Industry experts say they underestimated the movie's potential because of its unconventional format as a three-hour documentary. However, Fielder's social media following and his reputation for creating thought-provoking content helped draw in viewers.

Meanwhile, another film that opened last weekend was Street Fighter, which topped the charts with a $51 million global opening. The action-packed movie, starring Callina Liang, Noah Centineo and Andrew Koji, had a reported production budget of $82 million, although marketing costs are not included.

The box office performance of several films has been reported for the current weekend. One of these is Whalefall, a survival thriller with a production budget of $60 million. The movie, starring Austin Abrams and Josh Brolin, managed to earn only $8 million from 3,065 locations in the US and Canada.

In comparison, another film called Street Fighter" may have impacted "Whalefall's performance. However, it's worth noting that Whalefall received better reviews than its rival movie. Despite this, Whalefall still struggled to attract a large audience, resulting in a relatively weak opening weekend.

The $17.5 million global launch of Whalefall is comprised of the $8 million earned from US and Canadian locations, as well as an additional $9.5 million from international showings. This puts it behind several other movies that performed better at the box office this weekend.

Universal Pictures' horror movie Other Mommy, starring Jessica Chastain, took fourth place at the box office with a domestic total of $44.9 million after its second weekend. The film added $8.4 million to its earnings during this period. Meanwhile, other movies like Sense and Sensibility also performed reasonably well.

The Austen adaptation Sense and Sensibility, starring Daisy Edgar-Jones, managed to draw a predominantly younger audience with 58% of viewers between the ages of 14 and 18. It also attracted an overwhelmingly female crowd, making up 84% of its viewers. The movie received a strong CinemaScore of A- from these audiences.

The box office performance of the Elizabeth Holmes movie You Can See Everything has been impressive, contributing to a significant boost in overall ticket sales over the weekend. According to Rentrak, the total revenue from domestic and Canadian theaters reached $101.6 million, representing a 45% increase compared to the same period last year.

This surge in box office sales marks a notable milestone for the industry, with the year-to-date totals now standing at $8.2 billion. This figure represents an almost 20% increase over the previous year's performance, highlighting the resilience and growth of the film market despite various challenges. The strong showing of You Can See Everything" is likely to have contributed significantly to this uptick in ticket sales.

ABC News Entertainment: https://abcnews.com/Entertainment/wireStory/box-office-elizabeth-holmes-movie-now-hit-theaters-137363778

Evans comes from a family with a background in luxury hospitality, as his grandparents own the Evans Hotel Group. The company was founded in 1953 and comprises three high-end properties: The Lodge Terry Pines, the Bahia Resort Hotel, and the Catamaran Resort Hotel and Spa. This is not Evans's primary claim to fame.

Evans has a background in technology, having attended the Massachusetts Institute of Technology between 2011 and 2015. He also co-founded an AI-driven medical testing startup called Haemanthus in 2022, where he serves as CEO. The company aims to revolutionize blood diagnostics with its innovative approach.

The company Haemanthus has clarified that Elizabeth Holmes is not involved in its operations.

This statement comes after reports suggested Holmes was advising on a project related to the company.

Haemanthus aims to disrupt traditional blood diagnostics methods with its innovative approach.

In a joint interview with The New York Times, Billy Evans discussed his relationship with Holmes, revealing they fell for each other quickly.

Evans expressed some initial reservations about dating Holmes due to the intense media scrutiny she faced during that time.

He noted that getting to know someone in a more critical light can be beneficial when entering a relationship.

Holmes and Evans welcomed their son, William Holmes Evans, into the world in 2021.

In January 2022, Elizabeth Holmes received a guilty verdict on three counts of wire fraud and one count of conspiracy to commit wire fraud.

Her sentence was subsequently reduced from 11 years to nine years at Federal Prison Camp Bryan in Texas, where she is currently serving her time.

Meanwhile, Billy Evans had been advocating for a shorter sentence for his partner, submitting a request to the court in November 2022. He expressed concern about their young son's well-being and the impact of Holmes' imprisonment on their family life.

Evans continues to visit Holmes regularly despite the challenges he faces at the prison facility, describing it as "hell and torture in an interview with People in February 2025.

The relationship between Elizabeth Holmes's partner Billy Evans and the filmmakers behind her documentary is strained. According to a recent statement, neither Evans nor his partner has seen the film, which is currently in production.

Communication between Evans and the filmmakers has broken down, with Evans reportedly trying to exert control over the process. This move made it difficult for the team to engage with him, causing discomfort for all parties involved. The situation has been ongoing for a short period of time.

Evans has confirmed that he hasn't watched the documentary yet, calling his decision the dumbest thing I have ever done. However, he has seen the trailer and expressed his thoughts about Elizabeth Holmes's appearance in it, describing her as looking insane".

Billy Evans has revealed that he's nervous about the upcoming documentary on Elizabeth Holmes, but claims it takes a lot to raise his blood pressure given his past experiences.

Evans explained on All In that one of the main reasons he wanted to make the film is because it would allow viewers to see Elizabeth Holmes for themselves after she serves her 11-year sentence and is no longer restricted from speaking publicly.

The documentary aims to provide a fresh perspective, as Evans noted that there's already been a significant amount of media coverage and storytelling about Holmes.

The documentary aims to capture Elizabeth Holmes's authentic personality by showcasing her in everyday situations, rather than just presenting a scripted or rehearsed version of herself. The filmmakers have been working closely with Evans and other individuals who have had personal interactions with Holmes.

These encounters often took place in casual settings, such as going for a hike or helping a friend, where the subjects could observe Holmes's behavior without any pretenses.

Elle: https://www.elle.com/culture/movies-tv/a74133942/who-is-elizabeth-holmess-partner-billy-evans-explained/

The films are not science fiction epics or futuristic thrillers, but rather dramatized accounts of real-life scandals and controversies surrounding these tech moguls. The theme of techno-pessimism is still present, but it's now more relevant than ever in today's world.

The changing landscape has created an appetite for stories about the negative impact of Big Tech on society. These movies are not speculative or hypothetical; they're based on actual events and scandals that have made headlines in recent years.

One such film is The Social Reckoning, directed by Oscar-winning screenwriter Aaron Sorkin. He previously explored the story of Facebook with his 2010 film The Social Network, which he also wrote.

Jeremy Strong is set to play Mark Zuckerberg in the upcoming film The Social Reckoning, a role previously portrayed by Jesse Eisenberg in The Social Network.

The film also stars Mikey Madison, Jeremy Allen White, Billy Magnussen, Bill Burr and Betty Gilpin, and hits theaters this Friday.

Meanwhile, another high-profile tech figure is being scrutinized on screen. Alex Gibney's documentary about Elon Musk is nearing release, with the film expected to dissect the life and business empire of the Tesla and SpaceX CEO.

The movie has already sparked a backlash from its subject, who took to social media to label it a "hit piece" and its director a "douchebag.

The documentary series The Dropout provides a detailed account of Holmes' involvement in Theranos, a now-defunct blood-testing company.

A new film, You Can See Everything, is generating significant buzz ahead of its release on October 16th. This nearly three-hour-long documentary delves into the private life of Holmes and her family just before she was set to report to prison.

The movie appears more like a psychological horror film than a traditional nonfiction narrative, likely due to the intense scrutiny and pressure that Holmes faced in the years leading up to her indictment.

You Can See Everything has become one of the most anticipated theatrical releases this fall, with audiences eager to see the inner workings of Holmes' life unfold on screen.

The film's director is Nathan Fielder, who co-directed the project alongside Lance Oppenheim. The movie will offer a unique perspective on Holmes and her family, providing an intimate look at their lives just before she was set to serve time for fraud and conspiracy.

As news about You Can See Everything" continues to spread, it has become clear that this film is not the only one taking on the world of Big Tech. Another upcoming release, Artificial, will focus on the story of OpenAI's Sam Altman, who was fired by the company before being rehired just five days later.

Artificial is a biopic directed by Luca Guadagnino and stars an ensemble cast including Billie Lourd, Monica Barbaro, Chris O'Dowd, Jason Schwartzman, Zoe Zozia Mamet, and Ike Barinholtz. The film takes place in 2023 and has already generated substantial Oscar buzz.

The project was initially set to be distributed by Amazon MGM Studios but was later picked up by Neon after the studio stepped away due to its partnership with OpenAI.

Artificial is one of several upcoming films that will bring the world of Big Tech to the big screen, following in the footsteps of The Social Reckoning.

The film Artificial is set to hit theaters on Christmas Day, offering audiences a cinematic take on the Big Tech world.

In addition to movie releases, streaming platforms are also capitalizing on the trend of portraying Big Tech's scandals and controversies on screen. Netflix has a documentary series called The AI Doc or How I Became an Apocaloptimist, as well as another title, AI Gone Wild, which explores the Hugging Face cyberattack, set for release soon.

AMC will be airing The Audacity, a fictional account of the Silicon Valley tech bubble. On November 19th, Netflix will debut its eight-episode true-crime series, The Altruists, detailing the collapse of FTX and Sam Bankman-Fried's cryptocurrency empire in 2022.

CNET: https://www.cnet.com/culture/entertainment/hollywood-movies-ai-tech-zuckerberg-musk/