Documentary "You Can See Everything" Highlights Elizabeth Holmes' Partner Billy Evans
The new documentary examines the rise and fall of Theranos founder Elizabeth Holmes and introduces her partner Billy Evans, whose behavior and profit-sharing demands become a focal point of the film.
The surprise documentary You Can See Everything follows the well-known story of Elizabeth Holmes, the former Theranos CEO now serving a prison sentence for fraud, and co-director Nathan Fielder, known for his comedy-reality series. While Holmes and Fielder dominate the narrative, the film devotes significant screen time to Billy Evans, Holmes’s partner, who is not legally married to her but shares two children with her.
Evans appears in several scenes that contrast his actions with Holmes’s own statements. He requests a share of the film’s profits, a move the directors question, and at one point asks for privacy while being filmed nude. The documentary also shows him taking over routine tasks, such as preparing Holmes’s breakfast, and later, after her incarceration, engaging in activities like visiting a shooting range and expressing admiration for political commentator Charlie Kirk.
"She never indicated any doubt about my request for a profit share," Evans is quoted as saying in the film.
The filmmakers use these moments to explore themes of manipulation and trust, noting that Evans’s behavior diverges from typical documentary norms. Comparisons are drawn between Evans and well-known tech figures, emphasizing that unlike those individuals, Evans lacks a public track record of technological achievement.
Critics have observed that the documentary’s focus on Evans, a relatively unknown figure, has drawn more public attention than a contemporaneous, longer documentary about tech billionaire Elon Musk. The contrast highlights how personal drama can sometimes eclipse broader discussions of corporate influence.
Overall, You Can See Everything offers a four-character portrait that examines Holmes’s legacy, Fielder’s investigative approach, and Evans’s contentious role in the narrative.