Nathan Fielder Films Elizabeth Holmes Before Her Prison Term

Nathan Fielder's new documentary You Can See Everything captures Elizabeth Holmes shortly before she began an 11-year prison sentence in 2023. The film, reviewed by NPR, offers a portrait of the disgraced Theranos entrepreneur and, in the reviewer's words, is "full of surprises and strange rabbit holes."

Holmes does not disappear quietly into custody. Fielder's camera reaches her in the interval between conviction and confinement. That timing gives the film its charge. The audience watches a woman who once commanded billions of attention now performing herself for a documentarian who is himself a documented manipulator of form.

Who are the two masters of manipulation?

The NPR headline frames both subjects in one breath: Holmes and Fielder are, it says, "masters of manipulation." The pairing is the film's engine. Holmes built Theranos on claims about blood-testing technology that collapsed under scrutiny. Fielder built a career on staged authenticity, from Nathan for You to The Rehearsal, blurring documentary and fiction until viewers cannot locate the line.

Put the two in a room and the question becomes unavoidable. Who is manipulating whom? The review does not resolve it. Instead, it reports, the film keeps wandering into "strange rabbit holes" — detours the reviewer clearly counts among its pleasures rather than its flaws.

What does this change for the Holmes story?

The practical question a viewer will bring is simple: does this film tell us anything new about Elizabeth Holmes? The answer, according to the review, lies in the timing rather than in revelations. Earlier portraits — the book Bad Blood, the Hulu series The Dropout — reconstructed her rise and fall. Fielder's film catches her at the threshold, in the final weeks of freedom before the 11-year sentence began in 2023. That vantage point, not new evidence, is what distinguishes the project.

It also changes who holds the camera. A convicted fraudster facing a comedian-director whose whole method is engineered awkwardness creates a double portrait. Each subject is, by reputation, a manipulator of narrative. The film's tension comes from that symmetry.

A note on the coverage itself

NPR appended its standard ethical disclosure to the review: "NPR does not offer or accept money for coverage or interviews." The statement continues that anyone making such an offer or request "is not an NPR employee and does not represent NPR." The boilerplate signals nothing about the film itself, but it sits oddly well beside a movie about people who sold versions of the truth.

For audiences, You Can See Everything arrives as the latest entry in a crowded Holmes canon — and the only one made in her presence at the edge of prison. Whether the rabbit holes lead anywhere, or simply circle, is the wager Fielder asks viewers to take.