SYNOPSIS:

Keith and his wife caught it on a Tuesday night date night. Ben and his wife skipped work to see it in a theater, in the middle of the day. When was the last time a three-hour documentary caught the attention of just about everyone around? Just about never—so we had to talk about it. This week it’s just the two of us unpacking YOU CAN SEE EVERYTHING, the Nathan Fielder and Lance Oppenheim film about Elizabeth Holmes, shot in the weeks before she reported to prison. It’s a big-idea access movie that puts documentary technique under a warped microscope. One of us calls it one of the greatest pieces of art in years. The other can’t stop noticing the cameras. We argue over a jumped line, long lenses, and a baby shot through a crib, and whether Oppenheim’s polished style (see SPERMWORLD and REN FAIRE) reads as artifice. Toss in Fielder’s THE REHEARSAL brand of authenticity-poking and you get a very volatile mix. We debate whether SHERMAN’S MARCH or HOW TO WITH JOHN WILSON is the “real” version of on-camera awkwardness. So much to unpack in this film, about the father,and the ex, and how it handles Billy Evans asking for money, and whether documentary subjects should get paid. Should it get a Best Picture nod? A Best Documentary nod? Both? Spoilers are fair game, but Keith says this movie can’t really be spoiled. Ben says skip work and you won’t believe your eyes. Plus: the word “can,” that icky car ride to prison, and why we think the film is really about you, yes you—the audience.

DISCUSSION LINKS

YOU CAN SEE EVERYTHING (2026) | SHERMAN’S MARCH (1985) | HOW TO WITH JOHN WILSON (2020) | THE REHEARSAL (2022) | REN FAIRE (2024) | SPERMWORLD (2024)

TIMESTAMPS

00:00 Skipping work to see a documentary
00:41 Unfettered access and a stunning document
01:41 Is it a documentary?
02:24 Access, ethics and authenticity
02:54 Awards talk and the meaning of “can”
04:00 A mirror to the audience
04:35 Straight documentary, then recreation (spoilers)
05:14 Oppenheim’s calling card: SPERMWORLD and REN FAIRE
06:17 Nathan Fielder meets Elizabeth Holmes
07:26 The couch scene and the jumped line
09:03 HOW TO WITH JOHN WILSON vs. a full crew
09:43 The crib shot
10:41 Coming in cold on Holmes
11:02 THE REHEARSAL
11:45 Is SHERMAN’S MARCH a documentary?
12:36 Professional liars
12:55 The dad and the ex nobody follows up with
14:18 The dropped assault storyline
15:04 Billy Evans and the money ask
16:04 Should documentary subjects be paid?
16:44 The car ride to prison
17:37 What the movie is really about
18:24 Go see it and tell us how you feel