Photo: A24/Everett Collection |
There are a bunch of scenes from You Can See Everything that I’ve been turning over and over in my head like river stones since seeing it at the New York Film Festival on Wednesday night. But there’s one in particular I keep coming back to, from sometime in the first third of the documentary, which is just under three hours long and earns every mind-boggling minute. Nathan Fielder, who’s been given access to Elizabeth Holmes and her family over the five weeks leading up to the start of her prison sentence in May 2023, sits down with the Theranos founder and her husband, Billy Evans, to show them what he describes as quite possibly the most famous comedy routine of all time. The pair says they’re unfamiliar with Abbott and Costello, and as “Who’s on First?” plays on the television, Fielder watches Holmes watch the bit for what’s apparently the first time. She wears the same beatific smile that seems to be the standard expression for her face as she jiggles her younger child, then a baby. “Do you understand why that’s funny?” he asks afterward, when she claims to have enjoyed the video. “They were talking over and past each other,” she responds. But when he asks the disgraced tech mogul the name of the first baseman — the key to the premise of the extended joke — she can’t answer him. She insists she didn’t catch it.
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A fascinating reflection of America’s often-nonsensical foreign policy, the TNT miniseries adapts CIA analyst John Nixon’s memoir Debriefing the President: The Interrogation of Saddam Hussein. Many of Nixon’s (Joel Kinnaman) realizations after the invasion of Iraq have borne out — the threat of weapons of mass destruction was a lie, Abu Ghraib was grotesque — and his conversations with a captured Saddam Hussein (an incredible Waleed Zuaiter) are electric. But it’s depressing that High Value Target, after conveying the chaos and illegality of Iraq’s destruction, ultimately reveals an anti-Iran message that unintentionally suggests the U.S. is always searching for meaning through useless wars.
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The director’s alarming new film, Artificial, holds a mirror to our AI overlords. |
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Therapuss has become the No. 1 place for celebrities to explain concepts and ideas that may or may not make sense to a willing audience of one. |
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The author’s portrayal of Gen-Z college students in The Radiance is too familiar. But when he writes about the body, it gets brilliantly weird. |
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