Me: now, do you understand why it’s funny when Steve-O is covered in diarrhea inside the porta potty?
Elizabeth Holmes: well a porta potty shouldn’t be in the air like that.
real stroke of genius to make the audience complicit for buying a ticket to You Can See Everything. i got so pissed off at the thought of putting money in that man's pocket.
ELIZABETH HOLMES: of course it worked. the lights turned on. it was on the cloud
NATHAN FIELDER: ok. but you know what feelings are, right? like you have them?
WEIRD COCAINE HUSBAND: [watching youtube at 2x speed] babe it says here the mitochondria is the powerhouse of the cell
This is why You Can See Everything is a masterpiece
Near the very beginning, Holmes and Billy say a NYT reporter quoted Holmes as saying, “They’re playing a character I created.”
The couple contends that Holmes wouldn’t say that and, instead, said “They’re playing a character they created.”
One word changes the meaning from guilty to innocent.
Then the film builds up to Fielder having a similar moment, where he has to decide if Holmes said “I knew [Billy] was talking to you about it” or “about something.” One makes her look guilty, the other innocent.
Understanding this is the key to understanding the deeper meaning of the entire film
i invited nathan fielder into my home and he won’t stop showing me videos he finds funny while staring at me to gauge my reaction while explaining the rules of comedy to me
it’s very cool how by the end of the movie both Lance Oppenheim and Amanda Seyfried have clocked that Nathan is a compromised narrator (and clearly Nathan does to) due to being drawn in by Elizabeth Holmes’s doe eyed vulnerability shtick, but frame it incredibly well in film.