Latest / Under the Docs / Elizabeth Holmes Had Nathan Fielder Hypnotized | You Can See Everything Documentary Review

Transcript

Elizabeth Holmes Had Nathan Fielder Hypnotized | You Can See Everything Documentary Review · Under the Docs

• 0:00
  Speaker 1: If you put someone in a room with charles manson
• 0:02
  Speaker 1: there is a non-zero chance that they come back out
• 0:05
  Speaker 1: of that room with some crazy new thoughts going on
• 0:08
  Speaker 1: in their head right.
• 0:09
  Speaker 2: So Under the docks.
• 0:16
  Speaker 3: Yeah, under the docks. Very deep, but we're breaking the locks.
• 0:22
  Speaker 3: Furniture got clipped, they erased all the shots. They collected dots.
• 0:28
  Speaker 3: Under the docks. Under the docks.
• 0:32
  Speaker 1: Yeah, under the docks.
• 0:47
  Speaker 4: We're under the dark.
• 0:57
  Speaker 3: Ahoy, mateys!
• 0:58
  Speaker 5: You've drifted under the docks with Paranoid American and Uncle Sean,
• 1:01
  Speaker 5: charting through treacherous waves of documentaries to let you know
• 1:03
  Speaker 5: do they sink or swim.
• 1:05
  Speaker 6: Have a doc you want reviewed?
• 1:07
  Speaker 5: Contact us at underthedocks.com, paranoidamerican.com, or killthemockingbirds.com.
• 1:12
  Speaker 6: And don't forget to like, subscribe, and share, share the show.
• 1:15
  Speaker 1: And we have got a special, extra special treat today.
• 1:19
  Speaker 1: We got the one, the only, the famous donut. Welcome, donut,
• 1:22
  Speaker 1: to Under the Docks. Cheering, sound effects, all that.
• 1:27
  Speaker 6: Oh, snap.
• 1:29
  Speaker 1: So thank you. I mentioned long, long time fan of
• 1:32
  Speaker 1: the show, but I mentioned that I wanted to maybe
• 1:35
  Speaker 1: see this documentary or you mentioned that you had just
• 1:38
  Speaker 1: seen it and that we were going to be recording
• 1:40
  Speaker 1: an episode of under the docks on, you can see everything,
• 1:44
  Speaker 1: the new Nathan Fielder documentary and, And you're like, oh,
• 1:46
  Speaker 1: my God, it's so good. One of the best documentaries
• 1:48
  Speaker 1: of all time. So I figured it would be great
• 1:51
  Speaker 1: to have you to help us sort of break down
• 1:53
  Speaker 1: and review what the whole documentary is about. So before
• 1:57
  Speaker 1: we get into what the documentary is about, are we
• 2:01
  Speaker 1: familiar with Nathan Fielder's work? Nathan, for you, the rehearsal,
• 2:05
  Speaker 1: all that before this, the curse.
• 2:07
  Speaker 2: Absolutely. I learned about Nathan Fielder this year, actually, as
• 2:12
  Speaker 2: I've been working on a documentary series. And I found
• 2:15
  Speaker 2: him to be genius. And I'm like, why haven't I
• 2:17
  Speaker 2: known about him? And I saw the movie. It's filmmaking.
• 2:23
  Speaker 2: It's going to go down in history long after I'm dead.
• 2:28
  Speaker 2: It'll be carried on as the film itself, it being
• 2:33
  Speaker 2: about three hours long, the cinematography of it, the storytelling,
• 2:37
  Speaker 2: the meta to it as well. There's just so many
• 2:41
  Speaker 2: different layers that it's going to make All filmmakers raise
• 2:48
  Speaker 2: the bar in filmmaking. And I am coming from a
• 2:52
  Speaker 2: Werner Herzog fan and seeing something like this, absolutely incredible film.
• 3:00
  Speaker 1: And that film is You Can See Everything. This is 2026,
• 3:05
  Speaker 1: directed by Nathan Fielder and Lance Oppenheim. You just mentioned
• 3:09
  Speaker 1: that it's damn near three hours. It's two hours and
• 3:12
  Speaker 1: 54 minutes, which is long for a movie and really
• 3:16
  Speaker 1: long for a documentary and even longer for a documentary
• 3:20
  Speaker 1: that you would go to the theater and see. And
• 3:22
  Speaker 1: all three of us did, right? Um, we would, I
• 3:25
  Speaker 1: would have pirated it if I could find it, but
• 3:27
  Speaker 1: I couldn't. So we actually went out into meat space
• 3:30
  Speaker 1: and interacted with real touch grass as the kids say.
• 3:33
  Speaker 1: And we went and watched this. So I even have
• 3:35
  Speaker 1: my notes this time where I'm like a little notepad
• 3:38
  Speaker 1: that I brought in and I was just like writing
• 3:40
  Speaker 1: in the dark, hoping that I could read my handwriting afterwards. Um,
• 3:44
  Speaker 1: if you've been living under a rock or if you
• 3:45
  Speaker 1: just don't care about Nathan Fielder or Elizabeth Holmes, um,
• 3:48
  Speaker 1: This is a experimental documentary slash psychological comedy is what
• 3:54
  Speaker 1: it's classified as. But it is a legitimate documentary about
• 3:58
  Speaker 1: Elizabeth Holmes, who was the founder of the fraudulent blood
• 4:02
  Speaker 1: testing company Theranos. And we're going to get into how
• 4:06
  Speaker 1: and why all this came about. But Nathan Fielder, of
• 4:09
  Speaker 1: all people, is the one that gets invited into her
• 4:13
  Speaker 1: home to live with her. The invite's there for like
• 4:16
  Speaker 1: a month he's with her, but he moves in and
• 4:18
  Speaker 1: actually lives with them for two weeks leading up to
• 4:21
  Speaker 1: her going to prison where she's currently at right now.
• 4:25
  Speaker 1: So we get a very close inside look at Elizabeth Holmes,
• 4:29
  Speaker 1: her kids, her husband, her business dealings, anything you can
• 4:34
  Speaker 1: imagine with that weird Nathan Fielder twist. All right, let's
• 4:46
  Speaker 1: plot the course of You Can See Everything. This is
• 4:48
  Speaker 1: going to get real weird, real fast. But let me
• 4:51
  Speaker 1: just go over the basic premise of what the framework
• 4:55
  Speaker 1: is of this, because it goes off the rails almost immediately.
• 4:58
  Speaker 1: The premise is that this is 34 days before Elizabeth
• 5:02
  Speaker 1: Holmes is supposed to report to federal prison in May
• 5:05
  Speaker 1: of 2023. Elizabeth Holmes invites Nathan Fielder and an entire
• 5:11
  Speaker 1: documentary crew. They go inside of her home and basically
• 5:14
  Speaker 1: have unfettered access to any questions that he wants to answer.
• 5:19
  Speaker 1: We find out that the more he pries about certain topics,
• 5:23
  Speaker 1: the husband starts to get defensive. Elizabeth starts to give
• 5:28
  Speaker 1: these really weird, vague answers to The best example I
• 5:31
  Speaker 1: can think of is that the Bill Clinton, like it
• 5:33
  Speaker 1: depends on what your definition of is, is where now
• 5:36
  Speaker 1: all of a sudden the discussion is about the definition
• 5:39
  Speaker 1: of a word and how that changes things. There are
• 5:41
  Speaker 1: so many parts of this movie that have me questioning
• 5:44
  Speaker 1: what the real meaning of words are just from, and like, she's,
• 5:48
  Speaker 1: it's weird how she finds all these weird little edge
• 5:50
  Speaker 1: cases and, Uh, this was the wreck co-directed by Lance Oppenheim,
• 5:55
  Speaker 1: who also directed some kind of heaven and Ren fair. Uh,
• 5:59
  Speaker 1: we got to do Ren fair, by the way, if
• 6:00
  Speaker 1: you haven't seen that yet, it's about a guy that
• 6:02
  Speaker 1: wants to become like an actual Ren fair King. So
• 6:05
  Speaker 1: this going in there to sort of, uh, uh, absurd
• 6:10
  Speaker 1: comedy experimental directors that get invited to do what is
• 6:15
  Speaker 1: otherwise like a really serious topic. Like why is, was
• 6:18
  Speaker 1: she fraudulent? Did she lie about any of this? What
• 6:21
  Speaker 1: is she thinking going to the jail? What about the
• 6:23
  Speaker 1: future of Theranos spoiler? It turns out that she's already
• 6:27
  Speaker 1: working on Theranos 2.0. Um, so all, all of this
• 6:30
  Speaker 1: comes out and then in typical Nathan Fielder rehearsal fashion,
• 6:36
  Speaker 1: he makes it super weird and awkward.
• 6:39
  Speaker 5: My first note, uh, because I also had a notebook
• 6:43
  Speaker 5: in the theater in the dark, like scribbling it down.
• 6:45
  Speaker 6: Like I could barely, I would have to like pull
• 6:47
  Speaker 6: it up. Luckily I was the only one in, in,
• 6:49
  Speaker 6: in the theater.
• 6:50
  Speaker 5: I just found this weird because it was just a
• 6:52
  Speaker 5: weird scenario just to start it off. As you mentioned,
• 6:55
  Speaker 5: like she's holding her baby, but then like, she's, he's
• 6:57
  Speaker 5: talking to her and then their other child that's just
• 6:59
  Speaker 5: like two years old is just on a table, like
• 7:02
  Speaker 5: just walking around. And then I'm like, is anybody going
• 7:04
  Speaker 5: to get that baby before it falls?
• 7:05
  Speaker 6: And it's like, ah, and then you see the husband
• 7:07
  Speaker 6: walk over there. I'm like, okay. He's got to have
• 7:09
  Speaker 6: some common sense. He's going to pick. No, he just
• 7:11
  Speaker 6: walks right by and starts joining the conversation.
• 7:14
  Speaker 5: So to me, that set me off like, oh, this
• 7:17
  Speaker 5: is going to be something that I'm really going to
• 7:19
  Speaker 5: enjoy because it's going to be wacko.
• 7:21
  Speaker 6: And I also want to mention that.
• 7:22
  Speaker 5: You know, how usually I gripe about three hour documentaries
• 7:26
  Speaker 5: where I'm like, oh, like I'm going to tell you
• 7:28
  Speaker 5: this whole time I was locked in. I was locked
• 7:31
  Speaker 5: in and I was like, wow, it's over already. Like, oh, man,
• 7:33
  Speaker 5: like I want more. Like, so they really did a
• 7:36
  Speaker 5: great job.
• 7:38
  Speaker 1: How does a three-hour documentary usually feel? I guess for
• 7:42
  Speaker 1: the two of us, we're used to watching, or all
• 7:45
  Speaker 1: three of us, we're used to watching three, four, seven-hour documentaries.
• 7:48
  Speaker 1: So maybe three doesn't intimidate you that much.
• 7:52
  Speaker 2: What I liked about it was the camera work in it.
• 7:56
  Speaker 2: And you're talking about the table and they're showing it.
• 8:00
  Speaker 2: And the cameras they're using, I'm guessing they were shooting
• 8:04
  Speaker 2: it from far away. And you got like, you know, 8K, 10K,
• 8:10
  Speaker 2: the level of those cameras, because you see them in the,
• 8:16
  Speaker 2: you know, when they're filming, you could see the expensive
• 8:18
  Speaker 2: equipment that they're able to zoom in so close, but
• 8:23
  Speaker 2: have the camera far away and zoom in and have
• 8:27
  Speaker 2: the picture look so right and catch these micro expressions
• 8:32
  Speaker 2: that on the face and how it was filmed. It
• 8:37
  Speaker 2: kept on slowly zooming in. So it wasn't like they
• 8:42
  Speaker 2: were zooming in manually. It was all post edit zooming
• 8:45
  Speaker 2: in very close to their face. And it was filmed
• 8:49
  Speaker 2: like a box. It wasn't like a wide screen. Cause
• 8:53
  Speaker 2: I saw it on the Cine XL large screen and
• 8:57
  Speaker 2: it was just a box. But then they get to
• 9:00
  Speaker 2: the eyeballs of this woman and it goes into some
• 9:07
  Speaker 2: criminal elements of her playing this innocent person. But we
• 9:14
  Speaker 2: see the same thing happen with women dating criminals, uh,
• 9:20
  Speaker 2: where they're like, I'm just the innocent lady. Uh, but
• 9:25
  Speaker 2: my boyfriend or her husband, he's like this gangster criminal.
• 9:31
  Speaker 2: is a known like psychological thing. And even her not
• 9:37
  Speaker 2: blinking her eyes, like she's not stressed out. She's about
• 9:40
  Speaker 2: to go to jail and her eyeballs is locked in
• 9:45
  Speaker 2: on Nathan Fielder as prey, like Nathan Fielder's prey and
• 9:49
  Speaker 2: she's the predator. And it just makes no sense to
• 9:53
  Speaker 2: me because I didn't know who this lady was. I
• 9:56
  Speaker 2: didn't know about the story, but she was connected. and
• 10:00
  Speaker 2: duped Walgreens, Henry Kissinger. Like, I don't believe that one
• 10:06
  Speaker 2: bit coming from my like conspiratorial mind. And also the
• 10:12
  Speaker 2: thing that she hated was the symbol of her. doing
• 10:16
  Speaker 2: the 666 OK hand gesture, which is a known conspiracy
• 10:21
  Speaker 2: hand gesture for insiders. And she was upset about that.
• 10:26
  Speaker 2: And on the magazine that she's doing that, she has
• 10:31
  Speaker 2: these Sampaku eyes that Marilyn Monroe had people that have
• 10:37
  Speaker 2: tragedy come their way, Tupac, Michael Jackson, Prince. They're photographed.
• 10:44
  Speaker 2: Usually showing that Sampaku eye underneath. So I feel like
• 10:50
  Speaker 2: what is this whole thing? Some sort of insider job
• 10:54
  Speaker 2: because we're getting, it was like watching natural geographic and
• 11:00
  Speaker 2: that geo film on a wild animal, but they were
• 11:03
  Speaker 2: documenting maybe a psychopath, you know.
• 11:08
  Speaker 1: That's the right word. I think, cause as I'm watching
• 11:10
  Speaker 1: this for the same reason, um, And it made me
• 11:14
  Speaker 1: think of how people used to describe Charles Manson, that
• 11:18
  Speaker 1: Charles Manson was such a dangerous person because he had
• 11:23
  Speaker 1: either through the CIA or on his own accord organically,
• 11:26
  Speaker 1: but somehow he figured out that. how to lock in
• 11:29
  Speaker 1: and like reprogram somebody's entire worldview. If you put someone
• 11:33
  Speaker 1: in a room with Charles Manson, there is a non-zero
• 11:36
  Speaker 1: chance that they come back out of that room with
• 11:39
  Speaker 1: some crazy new thoughts going on in their head. Right.
• 11:42
  Speaker 1: And I feel that I'm not calling Elizabeth Holmes, Charles Manson,
• 11:47
  Speaker 1: but she also had whatever that quality is where I am.
• 11:51
  Speaker 1: I'm not even kidding about this, that if you go
• 11:53
  Speaker 1: into this movie and, and you pay attention and you
• 11:56
  Speaker 1: focus on her face and you listen to what she says,
• 11:58
  Speaker 1: you might be getting programmed because even as I watched it, she,
• 12:03
  Speaker 1: she mind screwed me a few times where I was like,
• 12:06
  Speaker 1: Oh my God, is she innocent? Or did she just
• 12:10
  Speaker 1: find this weird loophole game genie hack where like, I
• 12:15
  Speaker 1: know she's lying and she knows she's lying, but she,
• 12:18
  Speaker 1: If you can convince yourself that you're telling the truth
• 12:21
  Speaker 1: to a polygraph test and you pass it, doesn't that
• 12:24
  Speaker 1: mean that you're telling the truth and the confines of
• 12:27
  Speaker 1: what we consider truth? And it just, it started opening
• 12:30
  Speaker 1: up all these wild questions in my mind. But before
• 12:33
  Speaker 1: we get too off the rails, though, The movie starts
• 12:36
  Speaker 1: out and I've, again, I've got like a little notebook
• 12:38
  Speaker 1: where I just wrote it. So this is very linear.
• 12:40
  Speaker 1: Like as I'm watching the movie and I'm writing down
• 12:43
  Speaker 1: the things that stood out to me, the very first
• 12:45
  Speaker 1: note is this really awkward scene in the first few
• 12:48
  Speaker 1: minutes of the movie. And it's Nathan is just a
• 12:52
  Speaker 1: setup camera. It was like one of the first conversations
• 12:54
  Speaker 1: they're having. And it's like, oh, yeah, we'll be totally open.
• 12:57
  Speaker 1: And our life is your life. We're not going to
• 12:59
  Speaker 1: hide anything. Nothing censored. Nothing's off the table. This is
• 13:02
  Speaker 1: our chance to get Elizabeth's story out into the world
• 13:06
  Speaker 1: before all the media puts all their different spin on it.
• 13:10
  Speaker 1: And as they're talking to Elizabeth Holmes for the first
• 13:13
  Speaker 1: time and she's like stirring eggs with like a fork
• 13:16
  Speaker 1: in a bowl in the kitchen. And she's talking to
• 13:19
  Speaker 1: Nathan and mid conversation, the camera is like showing her
• 13:25
  Speaker 1: husband watching her stir the eggs. And you can see
• 13:28
  Speaker 1: that he's like, you can see in his eyes where
• 13:31
  Speaker 1: he's going. She's not stirring those eggs.
• 13:33
  Speaker 2: Right.
• 13:33
  Speaker 1: Right. So he decides to cut into the scene as
• 13:37
  Speaker 1: she's talking to Nathan on camera and sort of like
• 13:39
  Speaker 1: take the eggs away. And then he starts whipping them
• 13:42
  Speaker 1: like even faster. And bro, this is why I like
• 13:45
  Speaker 1: Nathan Fielder so much because, Is because he doesn't just
• 13:48
  Speaker 1: like ignore and keep talking to Elizabeth. He stops and
• 13:50
  Speaker 1: he goes, why did you just take those eggs away
• 13:52
  Speaker 1: from her?
• 13:53
  Speaker 2: Right.
• 13:54
  Speaker 1: And she's like, he's going to say I wasn't stirring them.
• 13:58
  Speaker 6: Right.
• 13:58
  Speaker 1: And he's like, no, no, no, it's not that. It's
• 14:00
  Speaker 1: just that, you know, you need to aerate them. And
• 14:02
  Speaker 1: he starts like spinning it back. So clearly, yes, because
• 14:05
  Speaker 1: she wasn't. And, man, what a great intro to this
• 14:09
  Speaker 1: whole thing because the narrative starts to form is that
• 14:13
  Speaker 1: maybe she is, like, a victim to these alpha males
• 14:16
  Speaker 1: that she keeps getting attached to that maybe are, like,
• 14:19
  Speaker 1: seeking her out. Maybe they can detect she's got some
• 14:22
  Speaker 1: mind control magic because who wouldn't want Charles Manson on
• 14:25
  Speaker 1: their side if he recognizes his ability and thought you
• 14:28
  Speaker 1: could harness it? Right. I'll stop talking so you guys
• 14:31
  Speaker 1: can get in on some of this. But that that
• 14:33
  Speaker 1: egg scene, bro, like I knew that there was going
• 14:36
  Speaker 1: to be something special just because of how Nathan was like,
• 14:40
  Speaker 1: why did you take those eggs away?
• 14:41
  Speaker 5: And then when he starts talking to Billy, the husband
• 14:45
  Speaker 5: and kind of in like, how did you meet her?
• 14:47
  Speaker 5: And like, you know.
• 14:49
  Speaker 6: Uh, how did it go?
• 14:49
  Speaker 5: And you, well, you know, and you could start to
• 14:51
  Speaker 5: like villainize Billy, right? Like I'm with you. Like I
• 14:54
  Speaker 5: kept going back and forth through the film where.
• 14:56
  Speaker 6: I'm like, she's the villain. He's the villain. Well, maybe
• 14:58
  Speaker 6: it's like not her fault.
• 14:59
  Speaker 5: But at this point I started like really like being
• 15:02
  Speaker 5: skeptical of Billy where I'm like, Hmm, who is this guy?
• 15:04
  Speaker 2: Right?
• 15:04
  Speaker 5: Like, who is he connected to? And how is he
• 15:08
  Speaker 5: with this like grownup cabbage patch doll? That's what she
• 15:10
  Speaker 5: looks like to me. She looks like a cabbage patch
• 15:13
  Speaker 5: all grown up, but he's like talking about how he
• 15:15
  Speaker 5: met her. And he's like, Nathan, asked the best question.
• 15:19
  Speaker 5: He asked the questions that I think like any of
• 15:22
  Speaker 5: us would ask. And he's like, so you didn't know
• 15:24
  Speaker 5: who she was. And he's like, Oh, well, like, you know,
• 15:26
  Speaker 5: I didn't know who she was, but like, cause she
• 15:28
  Speaker 5: had glasses on and she's like, yeah, I got, I
• 15:31
  Speaker 5: got scratched by my Husky.
• 15:32
  Speaker 6: And then he was like, so when did you know?
• 15:34
  Speaker 5: And he's like, well, like within an hour, he's like,
• 15:36
  Speaker 5: but you didn't, you fell in love right away.
• 15:38
  Speaker 6: And he's like, well, like within an hour.
• 15:40
  Speaker 5: And it's like, so conflicting what the boy, the husband
• 15:43
  Speaker 5: is saying, where he's like, well, I only, didn't realize
• 15:46
  Speaker 5: for after an hour of talking to her i was
• 15:48
  Speaker 5: in love with her but then i realized who she
• 15:50
  Speaker 5: was and and he's like yeah i was in silicon
• 15:53
  Speaker 5: valley he's he's connected for sure and i'm like is
• 15:56
  Speaker 5: he riding her coattails does he know something about this
• 15:59
  Speaker 5: and then i'm like are they in it together so
• 16:01
  Speaker 5: this is the opening of like billy right we're starting
• 16:04
  Speaker 5: to get this guy that i've never heard of i
• 16:07
  Speaker 5: before this i i knew a little bit about elizabeth
• 16:10
  Speaker 5: holmes and what was going on with her But I
• 16:13
  Speaker 5: did not. And her former partner, right, Sonny. And now
• 16:17
  Speaker 5: this guy, Billy. And I'm like, who is Billy? He
• 16:19
  Speaker 5: has two kids with her. And it looked almost like
• 16:21
  Speaker 5: he was her handler. And it's like, is she some
• 16:24
  Speaker 5: special person in this world that has like some knowledge
• 16:29
  Speaker 5: or some secrets and they need a.
• 16:31
  Speaker 6: Handler with her?
• 16:32
  Speaker 5: Because Throughout the film, he constantly steps in and out
• 16:38
  Speaker 5: of bounds over Nathan when he's talking about importance. It
• 16:42
  Speaker 5: was a little bit frustrating at times when you're like, oh,
• 16:44
  Speaker 5: I'm about to hear some, like, revelation.
• 16:46
  Speaker 6: And then, hey, Billy comes in and cuts her off.
• 16:48
  Speaker 6: And you're like, come on, bro. Like, so he was
• 16:51
  Speaker 6: villainized pretty early on, I think. Yeah.
• 16:54
  Speaker 2: Yeah, and also the scene where they show him naked
• 16:58
  Speaker 2: in the shower. That was pretty wild. His huge dong,
• 17:05
  Speaker 2: just like... It was okay.
• 17:07
  Speaker 1: It wasn't that huge. Just saying.
• 17:10
  Speaker 2: Well, it was much huger than mine. So I was like, whoa,
• 17:13
  Speaker 2: that's huge. It was okay. We'll continue. But I thought
• 17:18
  Speaker 2: that was just smart filmmaking as well, just showing this guy...
• 17:23
  Speaker 2: who's a narcissist, you can just see it. And his
• 17:27
  Speaker 2: will to power is like on everything and how they're
• 17:31
  Speaker 2: not affected. Just some things that just really, you could
• 17:35
  Speaker 2: see this with a lot of people. Have you ever
• 17:38
  Speaker 2: dealt with people like them? When they're in the prison,
• 17:44
  Speaker 2: he shows up late. He could be there at eight,
• 17:46
  Speaker 2: but he gets there at nine. And it's like, what's that?
• 17:50
  Speaker 2: And then when they're hanging out, He's just hanging out,
• 17:53
  Speaker 2: eating food, like on the picnic. Like it's like not
• 17:58
  Speaker 2: a big deal. He's relaxed in this prison system. It's
• 18:02
  Speaker 2: not sad. It's not like grueling. And this, the psychology
• 18:10
  Speaker 2: of this power couple, it was interesting. It's like, we're
• 18:16
  Speaker 2: watching a documentary of some real Illuminati family that is
• 18:22
  Speaker 2: living a different lifestyle than what they're saying they are.
• 18:26
  Speaker 2: Like they do the cold call scene, they're calling on
• 18:28
  Speaker 2: the phone, doing normal work. That's not what's going on.
• 18:35
  Speaker 2: That was all an act, in my opinion, when they're
• 18:38
  Speaker 2: making the phone calls and she's like, oh, I feel energized.
• 18:40
  Speaker 2: Because I felt, that's when I sympathized with her, when
• 18:45
  Speaker 2: she was like, I feel energized working on the projects,
• 18:49
  Speaker 2: because anybody would understand that. And the, yeah, I forget
• 18:57
  Speaker 2: where I was going with that. It was just about,
• 18:59
  Speaker 2: oh yeah, they were so good looking. And if you're
• 19:04
  Speaker 2: working in tech, like that, you don't end up good looking.
• 19:09
  Speaker 2: Like look at Henry Kissinger. Look at none of the presidents. Everybody,
• 19:14
  Speaker 2: if you're working on a billion dollar corporation or anything,
• 19:19
  Speaker 2: you're going to look like crap because most, even President
• 19:24
  Speaker 2: Trump would talk about he doesn't have time for the
• 19:27
  Speaker 2: gym because he's a billionaire. So he's working. So he
• 19:30
  Speaker 2: gets the liposuction. And does the diet pills. And so
• 19:35
  Speaker 2: it just didn't make any sense.
• 19:37
  Speaker 1: Billy even mentions towards the end of this movie that
• 19:40
  Speaker 1: one of the good parts about Elizabeth being in prison
• 19:43
  Speaker 1: is that she's starting to firm up. She's starting to
• 19:45
  Speaker 1: get like a flat stomach. And Nathan is like, what
• 19:48
  Speaker 1: are you talking about?
• 19:50
  Speaker 2: About?
• 19:50
  Speaker 1: And he was like, didn't she just have your kids?
• 19:53
  Speaker 1: Isn't that why, you know, she didn't have a flat stomach?
• 19:56
  Speaker 1: And he's like, yeah, but you know what I mean.
• 19:57
  Speaker 1: You know, she's like, she's more fit now. I didn't
• 19:59
  Speaker 1: mean to say it that way.
• 20:01
  Speaker 5: Like, he.
• 20:02
  Speaker 1: he catches him saying so many weird things. And I
• 20:05
  Speaker 1: want to, I want to bring that back to what
• 20:08
  Speaker 1: you guys were just talking about too, that when he
• 20:09
  Speaker 1: first starts talking to Billy, they it's, it's interesting because
• 20:13
  Speaker 1: Elizabeth and Billy on their own accord, they acknowledge upfront that, Hey,
• 20:18
  Speaker 1: this is our chance. Everyone thinks that she's a liar
• 20:21
  Speaker 1: and everyone thinks that we're so obtuse and we're trying
• 20:24
  Speaker 1: to distort and like manipulate people. So here's our chance
• 20:27
  Speaker 1: to be completely transparent. And that's why the name of
• 20:31
  Speaker 1: this is you can see everything. It's like, Hey, like
• 20:34
  Speaker 1: everything is, you know, on the table, you can film
• 20:36
  Speaker 1: anything that you want. And the first conversation that he
• 20:40
  Speaker 1: has with Billy is, And he's like, yeah, I saw her,
• 20:44
  Speaker 1: but I didn't know who she was. And I fell
• 20:46
  Speaker 1: in love with her within an hour. And he literally
• 20:48
  Speaker 1: is asking her, he's like... before you even saw what
• 20:51
  Speaker 1: her face looked like. Cause she had glasses and a
• 20:53
  Speaker 1: bandaid and a hoodie on. And he's like, yeah, even then,
• 20:57
  Speaker 1: even before I even knew who she was or what
• 21:00
  Speaker 1: she looked like, I was already in love. And he's
• 21:03
  Speaker 1: kind of talking to him. Like you can understand how
• 21:06
  Speaker 1: that sounds like a lie, right? He doesn't say it
• 21:08
  Speaker 1: in those terms, but he's like, you know, that sounds
• 21:10
  Speaker 1: like a lie.
• 21:11
  Speaker 3: Right.
• 21:11
  Speaker 1: And it's like, you know, man, just love the true love.
• 21:14
  Speaker 1: That's how it works. And then he will like, catch
• 21:17
  Speaker 1: elizabeth uh saying a similar thing where he's this is
• 21:20
  Speaker 1: like the most like underhand softball t-ball question like just
• 21:25
  Speaker 1: to run up there and knock it out of the
• 21:27
  Speaker 1: park and he just goes have you ever told a
• 21:30
  Speaker 1: lie in your life right you asked anyone that question
• 21:33
  Speaker 1: and it's like oh yeah of course right and she
• 21:36
  Speaker 1: and she stops and she pauses and And she's like, no,
• 21:40
  Speaker 1: I don't think I ever have. And he's like, what?
• 21:43
  Speaker 1: You can see that he's shocked. And it's like, come on.
• 21:46
  Speaker 1: Not even a white lie. If someone says, hey, do
• 21:48
  Speaker 1: you like my shoes? And you didn't like the shoes.
• 21:51
  Speaker 1: You didn't just say yes to be nice. And she's
• 21:53
  Speaker 1: kind of like... No, I don't think I ever have.
• 21:56
  Speaker 1: And you can just see him not wanting to let
• 21:59
  Speaker 1: go of this. Like, dude, we're filming a documentary about
• 22:02
  Speaker 1: how you're not deceptive and how you don't lie. And
• 22:05
  Speaker 1: here's your husband out of the gate lying, like just
• 22:08
  Speaker 1: clearly lying. And here you are out of the gate
• 22:11
  Speaker 1: lying about never lying. And like, again, it only gets
• 22:16
  Speaker 1: weirder from here. Like as soon as it opens, you're like,
• 22:18
  Speaker 1: how can they be saying these things and not be
• 22:21
  Speaker 1: self-aware enough to know that how deceptive it sounds. But
• 22:25
  Speaker 1: her whole shtick is that she'll say something that sounds
• 22:28
  Speaker 1: so weird and she doesn't just dig her heels into it.
• 22:32
  Speaker 1: She like erects a house and like puts a family
• 22:35
  Speaker 1: together and then it puts an extension on the house.
• 22:37
  Speaker 1: Like she's not leaving that spot wherever she ends up.
• 22:41
  Speaker 5: Well, it's funny too, because not only like, is she
• 22:44
  Speaker 5: like he, Nathan keeps trying to help her out. Like,
• 22:47
  Speaker 5: come on, you know, everybody has a little bit white lies,
• 22:51
  Speaker 5: you know, like, have you ever told a friend like, Hey,
• 22:54
  Speaker 5: I'm busy. And they wanted you to come to a party.
• 22:56
  Speaker 5: And she's like, he's giving her all the chances, but
• 23:00
  Speaker 5: I want to go back to Billy for a second.
• 23:01
  Speaker 5: Cause I thought one of the early scenes that was really, uh,
• 23:04
  Speaker 5: it was around the time when they're talking about the lies,
• 23:06
  Speaker 5: he's talking to Billy. Can't remember exactly what, uh, Nathan
• 23:09
  Speaker 5: was saying to Billy. Uh, And Billy's kind of like
• 23:11
  Speaker 5: talking out his ass. And then he just pauses and
• 23:14
  Speaker 5: he stops. And Nathan's like, you OK? Like, what's going on?
• 23:18
  Speaker 5: And he's like, and it's just like dead silence for
• 23:21
  Speaker 5: a couple of seconds. And he's like, oh, I was
• 23:23
  Speaker 5: just thinking about a thing. And he's like, OK, what
• 23:26
  Speaker 5: was the thing you're thinking about? And he's like, you know,
• 23:27
  Speaker 5: the thing. And like, he kind of just diverts. And
• 23:30
  Speaker 5: it's like, what's going on here? And it kind of
• 23:33
  Speaker 5: got me interested into like, is he hypnotizing her? Is
• 23:37
  Speaker 5: someone hypnotizing him? Is there some kind of MKUltra going on?
• 23:40
  Speaker 5: What is going on with these people? Because they're... absurd
• 23:44
  Speaker 5: like they can't really have a full-on conversation without pausing
• 23:48
  Speaker 5: but then I started as the film develops you start
• 23:51
  Speaker 5: seeing oh maybe Billy's pausing because he's like oh I
• 23:53
  Speaker 5: said too much let me reel that back in because
• 23:56
  Speaker 5: he just speaks his mind really really fast he's going
• 23:59
  Speaker 5: now he's like oh dang what did I say did
• 24:01
  Speaker 5: I say something that I shouldn't have and and revealed
• 24:04
  Speaker 5: a little bit more information and you can see that
• 24:06
  Speaker 5: he has a leash uh on uh elizabeth the whole
• 24:10
  Speaker 5: time one of the most interesting scenes to me was
• 24:13
  Speaker 5: when elizabeth's parents are there and the dad is pretty
• 24:16
  Speaker 5: much gonna like unload and like he's like you know
• 24:19
  Speaker 5: elizabeth was raped it was terrible thing i feel like
• 24:22
  Speaker 5: that was like the catalyst that kind of changed her
• 24:25
  Speaker 5: and he starts to We were like, oh, man, we're
• 24:27
  Speaker 5: about to go deep. And then again, Billy walks in. Hey, no,
• 24:31
  Speaker 5: didn't you come over here to spend time with her?
• 24:32
  Speaker 5: And you could tell the dad wants to speak and
• 24:36
  Speaker 5: tell this story because he's like, look, man, my daughter's damaged.
• 24:39
  Speaker 5: Like there's something going on. I want to figure this out, too.
• 24:43
  Speaker 5: And Nathan's giving them an opportunity. And Billy will not
• 24:46
  Speaker 5: let it go. He goes, oh, yeah, just have a
• 24:47
  Speaker 5: couple more minutes then. And then he comes back in
• 24:50
  Speaker 5: and you could see the dad in the mom's face
• 24:52
  Speaker 5: just kind of drop and like, OK, OK. And they're
• 24:54
  Speaker 5: just going back. And I was like, OK, this is
• 24:57
  Speaker 5: the theme of the film. Billy is not going to
• 24:59
  Speaker 5: let us hear the real story.
• 25:01
  Speaker 1: And it's obvious the way that he does it, which
• 25:03
  Speaker 1: makes it even more awkward. And there's one one part
• 25:07
  Speaker 1: in the movie early on when. Elizabeth is talking to
• 25:12
  Speaker 1: Nathan and she's about to drop something that sounds, you know, consequential.
• 25:16
  Speaker 1: And then he calls her off.
• 25:17
  Speaker 2: Right.
• 25:18
  Speaker 1: And she leaves the house, but she's still mic'd up.
• 25:21
  Speaker 1: And you don't like you don't you get the idea
• 25:24
  Speaker 1: that she forgets that she's still mic'd up. Because she's like,
• 25:27
  Speaker 1: you know, I feel real bad. And is it lying?
• 25:29
  Speaker 1: And he's like, look, it's not lying. If you just
• 25:31
  Speaker 1: say that, you know, you don't remember whatever. And you
• 25:35
  Speaker 1: can hear her tell him, but I thought this documentary
• 25:37
  Speaker 1: is about how transparent we are. And I feel bad
• 25:40
  Speaker 1: if I'm not being fully transparent. And he's kind of like,
• 25:43
  Speaker 1: don't think about it that way. And then you can
• 25:45
  Speaker 1: hear it go quiet where at one point he's probably like,
• 25:49
  Speaker 1: you know, like pointing to the mic, like, Hey, are
• 25:50
  Speaker 1: you still mic'd up? And she's probably like, Oh God,
• 25:53
  Speaker 1: I think I am. Right. So it kind of ends
• 25:56
  Speaker 1: that way. But like, there's these moments over and over again. Um,
• 26:01
  Speaker 1: and this is, uh, uh, one part where Nathan says
• 26:05
  Speaker 1: to them, Hey, I know you guys originally invited me
• 26:08
  Speaker 1: to stay with you and I turned you down originally,
• 26:11
  Speaker 1: but now I think I'll take you up on that. Like,
• 26:13
  Speaker 1: I'd like to move in. So he, this is two
• 26:15
  Speaker 1: weeks before she goes to jail and, and he moves
• 26:18
  Speaker 1: in but like his room is completely empty there's no
• 26:21
  Speaker 1: mattress on the bed like nothing's been like if you
• 26:24
  Speaker 1: invited someone into your home to live with you for
• 26:27
  Speaker 1: a couple weeks so he shows up and he comes
• 26:30
  Speaker 1: back out he's like hey there's like not a mattress
• 26:33
  Speaker 1: on the bed and you know like anything that you
• 26:35
  Speaker 1: guys can set up and And all of a sudden
• 26:37
  Speaker 1: Billy's like acting like it's this big, like, Oh, you
• 26:40
  Speaker 1: need a mattress, huh? Like, yeah, I guess we could
• 26:42
  Speaker 1: go and get that out of storage. So even like
• 26:45
  Speaker 1: every single step, when Nathan tries to meet them, when
• 26:48
  Speaker 1: they offer something and he accepts it, It's like there's
• 26:52
  Speaker 1: no actual substance to the thing that they said they
• 26:54
  Speaker 1: were going to give him, even down to, hey, you
• 26:57
  Speaker 1: can stay with us for two weeks. Even that was like, oh,
• 27:01
  Speaker 1: you really are going to take a bus up on that?
• 27:03
  Speaker 1: That was just sort of like a polite thing to offer.
• 27:07
  Speaker 1: We didn't think you were going to take us off
• 27:09
  Speaker 1: on it. And that's sort of Nathan's whole shtick, right?
• 27:11
  Speaker 1: Is that if you offer something that will make the
• 27:15
  Speaker 1: situation awkward and normal people would be like, oh, no,
• 27:17
  Speaker 1: that would be awkward. No, thank you. Nathan's like, yeah,
• 27:20
  Speaker 1: is this something that'll make this situation awkward? Yes, I
• 27:23
  Speaker 1: will take that, please. I'll take two of them.
• 27:26
  Speaker 2: And also the parents being there, the dad worked for Enron,
• 27:32
  Speaker 2: which went through its whole script there too. And he
• 27:36
  Speaker 2: was flaunting how successful he was at Enron. And he's like, oh,
• 27:41
  Speaker 2: you know, things went bad. It's sort of like what's
• 27:44
  Speaker 2: going on with my daughter. It is just these two
• 27:48
  Speaker 2: wealthy families and their own wealth being built. It was
• 27:54
  Speaker 2: like I was saying, it was like you were watching
• 27:57
  Speaker 2: another part of society that you don't really get to see.
• 28:02
  Speaker 2: And were they just the scapegoats for something much larger?
• 28:08
  Speaker 2: Because I still can't figure out how could Walgreens sign
• 28:15
  Speaker 2: these deals and not even test the product. They just like, Oh, here,
• 28:20
  Speaker 2: here you go. Or, you know, I, that makes no sense.
• 28:24
  Speaker 1: If you think about Elizabeth Holmes, as if she was
• 28:28
  Speaker 1: hypno toad, it makes more sense. Like if I could
• 28:30
  Speaker 1: just put hypno toad in a room with Henry Kissinger
• 28:34
  Speaker 1: and a bunch of investors.
• 28:35
  Speaker 6: Yeah.
• 28:36
  Speaker 1: Hypno toad is going to close that deal.
• 28:40
  Speaker 2: I see what you're saying. I see what you're saying,
• 28:43
  Speaker 2: but the whole, it just, it was very, I feel
• 28:46
  Speaker 2: like there's more to the story and what else I
• 28:49
  Speaker 2: liked about it was the meta layering of it. So
• 28:53
  Speaker 2: like as a film, it had different layers to it
• 28:57
  Speaker 2: where you're in his head. He, he hires the actor, actress,
• 29:03
  Speaker 2: the actor.
• 29:04
  Speaker 1: We'll get to that. We'll get, cause that's a big reveal. Okay.
• 29:08
  Speaker 2: Yeah. But the, Family, the mom, how she didn't say anything.
• 29:13
  Speaker 2: She looked very sad and scared and nervous. And the
• 29:17
  Speaker 2: dad as well. The parents looked freaked out. Like our
• 29:23
  Speaker 2: daughter's going to jail. And while she's in jail, they're
• 29:29
  Speaker 2: not freaked out. So there's like some sort of, and
• 29:33
  Speaker 2: we see this with when they're watching the television show
• 29:37
  Speaker 2: on who's on second base or who's on first base.
• 29:41
  Speaker 1: So that's the next big point in this movie is
• 29:46
  Speaker 1: that there's a conversation and You mentioned the reenactment, the
• 29:51
  Speaker 1: rehearsal stuff. We're going to get to that in a
• 29:53
  Speaker 1: second because there was a show by Amanda Seyfried where
• 29:57
  Speaker 1: she portrays Elizabeth Holmes. It's like a six to eight
• 30:00
  Speaker 1: issue kind of series. And it kind of breaks down
• 30:04
  Speaker 1: like what the whole story was about. So, Dona, you
• 30:06
  Speaker 1: mentioned that you weren't really familiar with this whole premise. Essentially,
• 30:09
  Speaker 1: Elizabeth Holmes claimed that they had a vice that they
• 30:12
  Speaker 1: could take a drop of your blood. And with that
• 30:15
  Speaker 1: one drop of blood run like a whole panel of
• 30:17
  Speaker 1: like 30 plus tests on it. And normally that would
• 30:20
  Speaker 1: take a whole bunch of blood and a whole bunch
• 30:22
  Speaker 1: of different places that you got to send the blood
• 30:24
  Speaker 1: out to. And it would take all this time and money.
• 30:26
  Speaker 1: And she claimed to have a machine that you could
• 30:28
  Speaker 1: just like stick your thumb in it. pricks your thumb
• 30:30
  Speaker 1: gives you a result within a minute and you're in
• 30:32
  Speaker 1: and out and that was what got sold to walgreens
• 30:34
  Speaker 1: and all these other people right um and the and
• 30:37
  Speaker 1: the reason that she is facing 11 years of prison
• 30:41
  Speaker 1: is for defrauding her investors because that machine that she
• 30:45
  Speaker 1: claimed did all these things couldn't actually do all of
• 30:48
  Speaker 1: those things and in the in the tv show reenactment
• 30:52
  Speaker 1: They basically show that they were just buying like a
• 30:55
  Speaker 1: competitor's product. And then we're like slapping a new coat
• 30:58
  Speaker 1: of paint and putting their logo on it and telling
• 31:00
  Speaker 1: Walgreens like, look what we made.
• 31:02
  Speaker 2: Right.
• 31:03
  Speaker 1: But it wasn't ever anything they were doing. So he's
• 31:06
  Speaker 1: asking her and she pulls out the old Theranos machine
• 31:09
  Speaker 1: and it's on a table. And he's like, so can
• 31:12
  Speaker 1: this do like the way you're talking about it? It's
• 31:14
  Speaker 1: almost like. You shouldn't be going to jail for fraud. Like,
• 31:18
  Speaker 1: why are you going to prison for 11 years for fraud?
• 31:20
  Speaker 1: And you're sitting here telling me this machine can do
• 31:23
  Speaker 1: all these things. And Nathan starts to hone in on
• 31:26
  Speaker 1: the way that she's using the word can is very
• 31:30
  Speaker 1: loaded because it's like, well, it can do it. It
• 31:33
  Speaker 1: just needs the programming. It just needs to be trained
• 31:37
  Speaker 1: on how to do this thing. And, and Nate, and
• 31:39
  Speaker 1: I'm going to try and paraphrase it in my own
• 31:41
  Speaker 1: way as I kind of understood it, but it was like,
• 31:43
  Speaker 1: if I was talking to you and I told you
• 31:45
  Speaker 1: I can run a two minute mile and you probably
• 31:48
  Speaker 1: look at me like, uh, you don't look like you're
• 31:50
  Speaker 1: in the shape to run a two minute mile. I
• 31:52
  Speaker 1: don't even know if that's like humanly possible. Maybe not.
• 31:55
  Speaker 1: Like at the Olympics, someone might've done it. And I
• 31:57
  Speaker 1: was like, no, no, no, you don't get it. Like
• 31:59
  Speaker 1: my body is physically capable of running a two minute mile.
• 32:04
  Speaker 1: I can run a two minute mile. And it gets
• 32:07
  Speaker 1: into this conversation of like, well, do you mean that
• 32:09
  Speaker 1: you could run a two minute mile? Hypothetically, if you
• 32:12
  Speaker 1: trained and you ate right and you did it for
• 32:15
  Speaker 1: like 10 years, maybe you could run a 10 minute while.
• 32:18
  Speaker 1: And she's like, And I'm going back into what she's
• 32:21
  Speaker 1: saying about the Theranos thing. She's like, yeah, like the
• 32:23
  Speaker 1: machine can do it the same way that I can
• 32:26
  Speaker 1: run a two minute mile. He probably will never see
• 32:28
  Speaker 1: me run a two minute mile, but like physics do
• 32:31
  Speaker 1: not prevent me from running a two minute mile. Therefore
• 32:34
  Speaker 1: it is a possibility. And he's like, man, what a weird, like,
• 32:38
  Speaker 1: like hyper fixate on can versus could. And is that
• 32:41
  Speaker 1: worth sending someone to prison for 11 years over? And
• 32:44
  Speaker 1: that's when they go back and they're watching TV. They're
• 32:47
  Speaker 1: having like family time and, And Nathan is like, hey,
• 32:50
  Speaker 1: have you ever heard of Who's On First, which is
• 32:53
  Speaker 1: this Abbott Costello bit. So he plays Who's On First.
• 32:56
  Speaker 1: For everyone, you should know what this freaking is. The
• 32:59
  Speaker 1: baseball player's name is Who, and Who is literally standing
• 33:03
  Speaker 1: on first base. But the joke is like, if you
• 33:07
  Speaker 1: say Who's On First, it sounds like a question, but
• 33:09
  Speaker 1: really it's a statement. I'm sure you get it. It's
• 33:11
  Speaker 1: not freaking that difficult. So Nathan plays this for her
• 33:14
  Speaker 1: and her husband. And she's laughing and smiling. And he's like,
• 33:18
  Speaker 1: you find this funny. And she's like, yeah. And he's like,
• 33:20
  Speaker 1: so like, like genuinely, you're not making this up. She's like, yeah.
• 33:23
  Speaker 1: He's like, do you understand why it's funny? And she
• 33:26
  Speaker 1: doesn't get it. She doesn't understand that the guy's name
• 33:29
  Speaker 1: is who, and who's on first base is that this
• 33:31
  Speaker 1: whole miscommunication thing. And she thinks it's funny because a
• 33:35
  Speaker 1: miscommunication is happening, but she doesn't understand what the miscommunication
• 33:40
  Speaker 1: is and, And that ends up being like, that's the
• 33:43
  Speaker 1: best example. The Nathan was able to boil it down
• 33:46
  Speaker 1: is that she doesn't get who's on first, but she
• 33:49
  Speaker 1: still finds it funny. Is she lying? Like that was
• 33:52
  Speaker 1: such a weird defining moment of this movie.
• 33:55
  Speaker 6: That's Nathan's genius, man.
• 33:56
  Speaker 5: When I saw that scene right there, I was like,
• 33:59
  Speaker 5: this is great cinema because he brought back, of course,
• 34:02
  Speaker 5: the nostalgic old, like one of the oldest jokes in
• 34:05
  Speaker 5: the world. And I generally felt, again, it's hard to
• 34:08
  Speaker 5: tell what she really feels or really thinks because of
• 34:11
  Speaker 5: how her face looks. facial expressions are but she was
• 34:15
  Speaker 5: like when she was explaining it she's like well it's
• 34:19
  Speaker 5: funny because they're kind of going back and forth and
• 34:21
  Speaker 5: you're like yeah but that's not the reason and he
• 34:23
  Speaker 5: breaks down the joke to her and then that's when
• 34:26
  Speaker 5: again billy jumps in see yeah that's right like it's
• 34:28
  Speaker 5: almost like because they do also uh reveal that billy
• 34:32
  Speaker 5: is the one that chose nathan for the film right
• 34:36
  Speaker 5: he they they They were going, let's bring this guy in.
• 34:38
  Speaker 5: They specifically picked him for a reason. And I think
• 34:41
  Speaker 5: it's because he's quirky and he has like this weird
• 34:44
  Speaker 5: style to him.
• 34:45
  Speaker 6: So I think not everybody would take it seriously.
• 34:47
  Speaker 5: So I thought, in my head when this scene was
• 34:50
  Speaker 5: happening I'm like oh this is why Billy wanted this
• 34:53
  Speaker 5: is because he's like oh Nathan can pull some stunts
• 34:56
  Speaker 5: some rabbit out the hat have you you know like
• 34:59
  Speaker 5: look this is just a word play and maybe this
• 35:02
  Speaker 5: could make her look good and since he's kind of
• 35:04
  Speaker 5: like has that comedic feel and the awkwardness that it
• 35:07
  Speaker 5: might play well with her but I think in that
• 35:10
  Speaker 5: moment you really kind of seen a deer in the
• 35:12
  Speaker 5: headlights where she's like when he says do you do
• 35:15
  Speaker 5: you know why that's funny and she's like No. And
• 35:18
  Speaker 5: her eyes are just huge and she's just blank. And
• 35:21
  Speaker 5: that's where I'm like, it's almost like one of these,
• 35:24
  Speaker 5: you know, when you talk about like a midnight climax or,
• 35:27
  Speaker 5: or any of like the many experiments that have happened
• 35:30
  Speaker 5: throughout the years of these, like, candidly a manchurian candidates
• 35:34
  Speaker 5: where they're just blanked face they have no or these
• 35:37
  Speaker 5: mass shooters that you see and they're like they're catatonic
• 35:40
  Speaker 5: she had this like catatonic feel like she couldn't really
• 35:43
  Speaker 5: express herself and again anytime she did billy spoke for
• 35:48
  Speaker 5: her but i love that scene when he brought out
• 35:50
  Speaker 5: abing and stello first of all i was like one
• 35:52
  Speaker 5: of my mom's favorite things like so i was like
• 35:54
  Speaker 5: oh it's like nostalgic for me i grew up watching
• 35:56
  Speaker 5: that kind of films and stuff and and Just to
• 35:59
  Speaker 5: see that she didn't... I feel like she... I don't
• 36:01
  Speaker 5: know about you guys. Maybe you guys feel different, but
• 36:03
  Speaker 5: I generally felt like she didn't get the joke.
• 36:06
  Speaker 1: Or she was really good at lying about not getting it,
• 36:09
  Speaker 1: which is... Again, what this whole movie is all about.
• 36:12
  Speaker 1: The other thing that happens right after that is Nathan
• 36:15
  Speaker 1: is talking about that Amanda Seyfried show. I can't remember
• 36:19
  Speaker 1: what it was, like Hulu or something. And she basically says, like, oh, no,
• 36:22
  Speaker 1: I've never seen it. And he's like, oh, we have
• 36:24
  Speaker 1: to watch it. So he puts it on. So this
• 36:28
  Speaker 1: is where it gets, like, weirdly abstract and weird in
• 36:31
  Speaker 1: a Nathan Fielder way. So they're watching... Um, they're, they're
• 36:35
  Speaker 1: filming Nathan and showing them on a laptop streaming, um,
• 36:39
  Speaker 1: this show called dropout. And it gets to this part
• 36:43
  Speaker 1: where it's talking about Sunny, which was her old business
• 36:45
  Speaker 1: partner slash lover. And it's like, I can't watch this anymore.
• 36:49
  Speaker 1: So they, they cut it off.
• 36:50
  Speaker 2: Right.
• 36:51
  Speaker 1: Um, it's, it was called the, the dropout. And then
• 36:55
  Speaker 1: after that's over, it goes two years later. And here
• 36:58
  Speaker 1: we are, um, with like, she's in jail at this
• 37:02
  Speaker 1: point and he's not no longer allowed to talk to Elizabeth.
• 37:06
  Speaker 1: He can't get access to her. or any of this.
• 37:09
  Speaker 1: He can't get on the phone with her. Billy is
• 37:11
  Speaker 1: being this like middleman gatekeeper. So he's preventing access and
• 37:16
  Speaker 1: he's telling Nathan like, Oh, I get it, man. I
• 37:18
  Speaker 1: get your frustration. Nathan's like, no, you don't. You don't
• 37:21
  Speaker 1: know how this feels for me. So, uh, what he
• 37:24
  Speaker 1: does is he ends up getting Amanda Seyfried, the woman
• 37:28
  Speaker 1: that played Elizabeth Holmes in the TV show. He has
• 37:32
  Speaker 1: Amanda Seyfried come over and he shows Amanda Seyfried of
• 37:36
  Speaker 1: him showing Amanda Seyfried to Elizabeth Holmes, this weird like
• 37:39
  Speaker 1: inception thing. And then he's basically like, because I can't
• 37:44
  Speaker 1: talk to her and we're not allowed to record the
• 37:47
  Speaker 1: phone conversations, I want you to reenact Like the things
• 37:51
  Speaker 1: that she's done before. So now he's hired the same
• 37:55
  Speaker 1: woman that played her in a dramatization of her own life.
• 37:58
  Speaker 1: He's hired that same actress to now play Elizabeth Holmes again,
• 38:03
  Speaker 1: but in like a more real capacity. And this is
• 38:06
  Speaker 1: such a weird, weird, like. this is the inception Nathan
• 38:10
  Speaker 1: Fielder rehearsal method, like just spelled out. This was like
• 38:14
  Speaker 1: the most surreal part. Like I was giddy when I
• 38:17
  Speaker 1: realized what he was doing. It was like, Oh my God,
• 38:19
  Speaker 1: he's gonna have her recreate every single conversation that they had.
• 38:24
  Speaker 2: That was the meta layering that I was just talking about.
• 38:29
  Speaker 2: How crazy it was, how he hires this actress who
• 38:35
  Speaker 2: plays her. So she's like a simulacrum, um, of her
• 38:40
  Speaker 2: and he's writing down his thoughts in his head and
• 38:45
  Speaker 2: it is being played out like the thoughts in his head.
• 38:49
  Speaker 2: So there's like just different layers upon layers into it.
• 38:54
  Speaker 2: And then it cuts to him at like where he
• 38:57
  Speaker 2: is at the waiting for the phone call and the
• 39:01
  Speaker 2: conversation that they have on the phone call. And so
• 39:04
  Speaker 2: there's even more layers within the layers And it, from
• 39:09
  Speaker 2: that moment, it was, it was really cool to just
• 39:14
  Speaker 2: to see that work out. Cause that had to, you
• 39:17
  Speaker 2: have to sit down and kind of figured that out.
• 39:19
  Speaker 2: Very technical. I watched this Alfred Hitchcock film called rope
• 39:26
  Speaker 2: and rope was one of his most technical films. because
• 39:31
  Speaker 2: it was one long continuous scene so they had the
• 39:36
  Speaker 2: set move so it could work just stuff like that
• 39:41
  Speaker 2: with the camera it was a great movie with it
• 39:47
  Speaker 2: all and when she's in jail And they're having a
• 39:51
  Speaker 2: conversation and that lady, and then he go, they go talk.
• 39:56
  Speaker 2: And instead of the babies on the table, he had
• 39:58
  Speaker 2: like an iguana on the table. Like, where was he?
• 40:01
  Speaker 1: A Gia monster or something like as a pet. Yeah.
• 40:04
  Speaker 2: And there was like a snake in the backyard. Like the,
• 40:08
  Speaker 2: the guy he's tweeting for her. And then they bring
• 40:13
  Speaker 2: up Charlie Kirk, which I thought was.
• 40:17
  Speaker 1: So that was the other big point that they make
• 40:20
  Speaker 1: is that as soon as Elizabeth Holmes is in prison.
• 40:24
  Speaker 1: Her husband gets power of attorney over her, meaning that
• 40:28
  Speaker 1: he basically legally is allowed to act on her behalf
• 40:32
  Speaker 1: in every capacity you can imagine. And he keeps telling
• 40:36
  Speaker 1: Nathan and Amanda because now Amanda Seyfried is like with
• 40:41
  Speaker 1: Nathan all the time, like along for the ride. So
• 40:43
  Speaker 1: now they're hanging out with Billy. Um, and eventually like
• 40:47
  Speaker 1: even Elizabeth Holmes like calls and she's there like with
• 40:51
  Speaker 1: her family, it gets, it gets really weird. Um, but like,
• 40:54
  Speaker 1: even as he's having these different conversations, uh, with her,
• 40:58
  Speaker 1: she's starting to pick up on like, well, that's not right.
• 41:01
  Speaker 3: Like.
• 41:02
  Speaker 1: You're in she's in prison, but you're acting on her
• 41:05
  Speaker 1: behalf and you claim that you're so in sync. Yet
• 41:09
  Speaker 1: he's doing things like using photos that she hated and
• 41:12
  Speaker 1: putting them up all around town. There's a guy that's
• 41:16
  Speaker 1: making billboards that have Elizabeth Holmes and then him inserted
• 41:20
  Speaker 1: into them. And there's some sort of weird deal going
• 41:23
  Speaker 1: on between Billy and this guy with the billboards. And
• 41:26
  Speaker 1: he's asking her, hey, don't you think she wouldn't want
• 41:30
  Speaker 1: that picture up on this billboard? Isn't this not what
• 41:33
  Speaker 1: her wishes would be? And by the way, this guy's billboard,
• 41:37
  Speaker 1: I've been to this note here, but... the guy on
• 41:40
  Speaker 1: the billboard is some guy named Ryan and Ryan hired
• 41:43
  Speaker 1: a blonde stripper to dress up like Elizabeth Holmes. And
• 41:47
  Speaker 1: then he blew himself up on a stage in this
• 41:49
  Speaker 1: like really B movie, like amateur movie thing that he made.
• 41:53
  Speaker 1: And he's asking him like, is this what Elizabeth's vision is? Like,
• 41:58
  Speaker 1: is this what she's would be okay with? And he's like, Oh,
• 42:01
  Speaker 1: why do we have to ask her about this? I
• 42:02
  Speaker 1: just know telepathically we're in sync. Oh, and by the way,
• 42:06
  Speaker 1: I've got power of attorney anyway, so it doesn't matter. And,
• 42:08
  Speaker 1: And then they start going through his Twitter feed. And
• 42:11
  Speaker 1: the thing, like, so right now, if you go on Twitter,
• 42:13
  Speaker 1: Elizabeth Holmes has an active Twitter feed. She's tweeting nonstop
• 42:17
  Speaker 1: all throughout the day, commenting on weird posts. And Nathan
• 42:21
  Speaker 1: starts pulling up examples of things that like, quote, Elizabeth
• 42:25
  Speaker 1: is tweeting, which is really her husband tweeting. And it's
• 42:28
  Speaker 1: on like big, fat, juicy nugs of weed. And she's
• 42:31
  Speaker 1: commenting on like, oh, yeah, back when weed was, you know,
• 42:34
  Speaker 1: strong or whatever. And then getting like really political, telling
• 42:38
  Speaker 1: people to F off, calling people idiots. And then there
• 42:41
  Speaker 1: was one post about Charlie Kirk. And now so it's
• 42:46
  Speaker 1: Nathan and Amanda Seyfried and Billy. And they're all together
• 42:50
  Speaker 1: in a room. and she's kind of calling them out.
• 42:54
  Speaker 1: Like this isn't right. She, Elizabeth wouldn't call someone a
• 42:57
  Speaker 1: jackass on Twitter and post about, you know, weed or whatever.
• 43:02
  Speaker 1: And then there's a comment about Charlie Kirk and Amanda
• 43:06
  Speaker 1: and Billy get into like a verbal altercation because Amanda's like, Oh,
• 43:11
  Speaker 1: he was a horrible person. He was a racist, yada, yada.
• 43:14
  Speaker 1: And Billy's like, well, I think Charlie Kirk was a
• 43:17
  Speaker 1: great guy. And they start like attacking each other about
• 43:20
  Speaker 1: a tweet where, uh, Billy was using Elizabeth Holmes Twitter
• 43:24
  Speaker 1: account like Charlie Kirk.
• 43:27
  Speaker 6: No, it was the actress.
• 43:30
  Speaker 5: She had to talk crap about Charlie Kirk and Billy
• 43:34
  Speaker 5: used it to like start slinging mud at her when
• 43:36
  Speaker 5: she started like calling him out on his stuff like, hey.
• 43:39
  Speaker 6: What do you mean you got power of attorney? What
• 43:41
  Speaker 6: do you mean you're tweeting all this? And she says
• 43:44
  Speaker 6: something about Twitter.
• 43:45
  Speaker 5: He's like, why am I going to take advice about
• 43:48
  Speaker 5: social media as someone like you?
• 43:49
  Speaker 6: And he's like, what do you mean? I have a
• 43:51
  Speaker 6: great social media. She got dragged.
• 43:52
  Speaker 5: She got dragged for a couple of days and he
• 43:54
  Speaker 5: brings up the Charlie Kirk incident. And then they just
• 43:57
  Speaker 5: instead of talking about what Billy was doing, it's now
• 44:00
  Speaker 5: reverted to like, oh, see, you're a piece of crap.
• 44:02
  Speaker 5: Like now they're slinging crap back and forth. Like, oh,
• 44:05
  Speaker 5: you know, I think Charlie Crook was a great guy.
• 44:07
  Speaker 5: And it really reveals who Billy is, that he's going
• 44:10
  Speaker 5: to take you down in the mud with him. He's like, OK,
• 44:12
  Speaker 5: you're going to go sling at me. Then I'm going
• 44:14
  Speaker 5: to find your flaw and bring you down to my level.
• 44:17
  Speaker 5: And you can see she hates him after this. Like
• 44:20
  Speaker 5: she really hones in on like, this guy's a piece
• 44:22
  Speaker 5: of shit. And like she, he really reveals himself as
• 44:25
  Speaker 5: a narcissist. And I think you really see that when
• 44:28
  Speaker 5: she's about to go to jail, one of the most
• 44:31
  Speaker 5: like crazy scenes to me as she's leaving. Right. The right,
• 44:34
  Speaker 5: like the last goodbye to Nathan before she goes to
• 44:36
  Speaker 5: jail is like this awkward lover, like save me.
• 44:41
  Speaker 6: Like, I'm kind of like, there's no word said, right.
• 44:43
  Speaker 6: They're just blank stare looking at each other.
• 44:46
  Speaker 5: But it like, I had this idea, like it almost
• 44:49
  Speaker 5: remind me of a movie where you're like, are they
• 44:50
  Speaker 5: going to kiss?
• 44:51
  Speaker 4: Right.
• 44:51
  Speaker 5: Like, like, do they have some kind of romance and
• 44:53
  Speaker 5: not that they did, but it was just this powerful, like,
• 44:57
  Speaker 5: is she really a helpless person? And, or is he
• 45:00
  Speaker 5: just like, have multiple personalities that she can shift, right?
• 45:03
  Speaker 5: Like where she's a victim and then she is the aggressor.
• 45:06
  Speaker 5: It was really interesting dynamic. And then when it shifts
• 45:09
  Speaker 5: back to the two years later, you're like, Oh, Billy's
• 45:12
  Speaker 5: running everything. Because right before she went in jail, he
• 45:14
  Speaker 5: had her photographed like on three 60 angles.
• 45:18
  Speaker 6: Like he was like every single, like, and she did
• 45:22
  Speaker 6: not like being photographed. And she's like, I don't really
• 45:25
  Speaker 6: like this. She's crying.
• 45:26
  Speaker 5: Like And you could tell that the tears were genuine, right?
• 45:28
  Speaker 5: Like she's, and I know a lot's probably going on, right?
• 45:31
  Speaker 5: She now has two kids and she probably like, dang,
• 45:33
  Speaker 5: what am I getting? What did I get myself into?
• 45:35
  Speaker 1: And he's like, oh, no, don't worry, babe.
• 45:37
  Speaker 6: Just sit there. And she, they're taking pictures of her.
• 45:39
  Speaker 6: And then you fast forward later. And he's like, not
• 45:41
  Speaker 6: only do.
• 45:42
  Speaker 5: I have power of attorney, not only am I on here,
• 45:45
  Speaker 5: just like tweeting for her, I'm making AIs of her.
• 45:49
  Speaker 5: And then Nathan's like, but what if somebody could like
• 45:52
  Speaker 5: do something bad, like make her in a porn?
• 45:53
  Speaker 6: He's like, I don't care.
• 45:54
  Speaker 5: They're going to do it anyways. He's like, might as
• 45:57
  Speaker 5: well own it. Like he just has, you see his
• 46:00
  Speaker 5: really shifted. It's almost like, did he get involved with
• 46:04
  Speaker 5: her to steal that tech? Because one of the things
• 46:06
  Speaker 5: I thought also that was important that the dad said,
• 46:09
  Speaker 5: he said that a lot of people in 2020.
• 46:12
  Speaker 6: Were after her patents. And then I'm like, hmm, a
• 46:15
  Speaker 6: lot of people were after her patents.
• 46:16
  Speaker 5: And then all of a sudden you meet this guy, Billy,
• 46:19
  Speaker 5: who's like now, oh man, we should, let's do 2.0,
• 46:22
  Speaker 5: gotta do 2.0, right?
• 46:24
  Speaker 6: And who else is he involved with?
• 46:26
  Speaker 5: They don't get too crazy of who he's involved with,
• 46:28
  Speaker 5: but he makes it clear throughout the film, especially after
• 46:31
  Speaker 5: that two year saga, when he is now the head honcho.
• 46:35
  Speaker 5: And he's like, I have connections. I know people like
• 46:38
  Speaker 5: I can get stuff done. And he has this not
• 46:40
  Speaker 5: only edge of like narcissistic, but like also gives me
• 46:43
  Speaker 5: like a degenerate coke head, like alcoholic vibe where he's
• 46:47
  Speaker 5: just like, there's a scene where he's like going with
• 46:51
  Speaker 5: Nathan and he's going back and forth with him. And
• 46:53
  Speaker 5: then he meets Nathan. He's kind of angry with them
• 46:55
  Speaker 5: because Nathan wants to talk to her. uh, in jail.
• 46:58
  Speaker 5: And he's like, what's the context. I need to know
• 47:00
  Speaker 5: the context. And he meets up with him and he's like, yeah,
• 47:02
  Speaker 5: I got my gun on me all the time. Cause
• 47:04
  Speaker 5: someone might be after me. And so that's what we're
• 47:06
  Speaker 5: having this interview. And then Nathan looks really scared. And
• 47:09
  Speaker 5: he's like, do you have your gun on you right now?
• 47:11
  Speaker 5: And he's like, yeah, yeah, I do. And then there's
• 47:13
  Speaker 5: not even really any revelation that he comes to say, like,
• 47:16
  Speaker 5: you know, you'd think he'd be like, yeah, I'm here.
• 47:18
  Speaker 5: So interview me and let this out that, that I
• 47:21
  Speaker 5: have this, uh, uh, patent and I'm going to, uh,
• 47:23
  Speaker 5: you know, something that everybody wants, but he never reveals anything.
• 47:26
  Speaker 5: It's all, it's almost as if Billy wanted Nathan.
• 47:29
  Speaker 6: No, I have a gun. And if you keep pressing,
• 47:32
  Speaker 6: I'm going to use it.
• 47:33
  Speaker 5: And he did it in these like backhanded, like misdirection ways,
• 47:38
  Speaker 5: instead of like threatening Nathan, he kind of like alluded
• 47:41
  Speaker 5: to things like, I know a lot of people, I
• 47:42
  Speaker 5: have connections, I can do this.
• 47:44
  Speaker 6: And you can see Nathan is a little bit scared.
• 47:47
  Speaker 5: Because you introduced me to Nathan when we watch, you know, uh,
• 47:52
  Speaker 5: uh what was this uh yeah when we watched the
• 47:55
  Speaker 5: rehearsal and you could see like he's not really afraid
• 47:58
  Speaker 5: of a lot and he's really he does act awkward
• 48:00
  Speaker 5: but he's always willing to like push the boundaries but
• 48:03
  Speaker 5: i noticed that billy kind of boxed him in where
• 48:06
  Speaker 5: he kind of had a little bit of fear i
• 48:08
  Speaker 5: think because billy put that into him like hey you
• 48:10
  Speaker 5: never know what's gonna happen i mean two years later
• 48:13
  Speaker 5: you go into his house he has like uh not
• 48:15
  Speaker 5: even an iguana it looked like one of those uh
• 48:17
  Speaker 5: he had big old snake and I don't know if
• 48:19
  Speaker 5: it was.
• 48:19
  Speaker 6: One of those.
• 48:20
  Speaker 5: One of those.
• 48:21
  Speaker 1: The Gila Monster, I think. Yeah, that's what... Yeah.
• 48:24
  Speaker 5: You don't just have those around kids. Like that's not
• 48:27
  Speaker 5: something like they can really harm people. So he really
• 48:31
  Speaker 5: turned it on. And then he went from like, oh,
• 48:33
  Speaker 5: I just swim and I go to the gym to
• 48:35
  Speaker 5: now he's in Texas because they moved to Texas because
• 48:37
  Speaker 5: that's where she's in prison in federal prison in.
• 48:41
  Speaker 6: Austin, Texas. And he's just shooting. He becomes a Texan
• 48:44
  Speaker 6: right away.
• 48:44
  Speaker 4: Right.
• 48:45
  Speaker 6: He's like it shows him just and I'm like, ah,
• 48:48
  Speaker 6: and I really feel like Billy try to put the
• 48:52
  Speaker 6: fear into Nathan.
• 48:54
  Speaker 2: There's one thing I want to add before I forget,
• 48:57
  Speaker 2: which is kind of a unique thing, where they brought
• 49:01
  Speaker 2: up the Charlie Kirk thing. Charlie Kirk being in Arizona
• 49:04
  Speaker 2: at Turning Point, which is based in Arizona. And I
• 49:08
  Speaker 2: saw the movie in Arizona. And when the movie ended,
• 49:13
  Speaker 2: it was different than any other film that I've gone
• 49:16
  Speaker 2: to with an audience. Everyone just started talking. People were
• 49:20
  Speaker 2: just blah, blah, blah, blah, like just started to talk.
• 49:23
  Speaker 2: It was very wild to see that in a film.
• 49:26
  Speaker 2: But he makes a comment where he's like, oh, I
• 49:30
  Speaker 2: don't want to end up in Arizona. Like he says
• 49:33
  Speaker 2: that in it, like it's a terrible thing. And everyone
• 49:36
  Speaker 2: in the crowd goes, laughing because we were all in
• 49:40
  Speaker 2: Arizona watching it. And he also said that, how did
• 49:45
  Speaker 2: you get the Twitter account? And he's like, I know
• 49:48
  Speaker 2: people at Twitter. And that's how he got it. So, yeah.
• 49:54
  Speaker 1: He's an industry insider for sure for a number of reasons.
• 49:56
  Speaker 1: It comes up like, where do you get your money?
• 49:59
  Speaker 1: And it turns out like his parents were rich and
• 50:03
  Speaker 1: So he was rich kind of by proxy and that's
• 50:05
  Speaker 1: kind of how he gets along. And then I think
• 50:07
  Speaker 1: the final big twist or I guess direction this documentary
• 50:13
  Speaker 1: takes is that Amanda Seyfried is like fed up with Billy.
• 50:18
  Speaker 1: Now she is anti-Billy and she literally tells Nathan, she's like,
• 50:22
  Speaker 1: let's break them up. Let's find something that will get
• 50:25
  Speaker 1: under her skin enough to dump this guy because I
• 50:29
  Speaker 1: hate how controlling he is and And this power of
• 50:32
  Speaker 1: attorney thing is weird. And the Twitter stuff is weird.
• 50:35
  Speaker 1: Like all this is really weird. And so now the
• 50:39
  Speaker 1: dynamic of the documentary is how do we break up
• 50:42
  Speaker 1: Elizabeth Holmes and her husband in the middle of all
• 50:45
  Speaker 1: this drama going on? And Nathan recounts his experience when
• 50:50
  Speaker 1: they first sat down with Billy and Elizabeth with A24
• 50:53
  Speaker 1: to talk about filming this documentary and And basically there
• 50:57
  Speaker 1: was this point in time, and this is like really,
• 50:59
  Speaker 1: this is like the end of the movie, like the
• 51:01
  Speaker 1: big reveal. Um, they're sitting around a table and one
• 51:06
  Speaker 1: of the kids cries. So Elizabeth gets up to go
• 51:09
  Speaker 1: and tend on the kid, leaves the room. And as
• 51:11
  Speaker 1: soon as she's out of the room, Billy looks at
• 51:14
  Speaker 1: all the eight 24 execs and he's like, let's talk
• 51:16
  Speaker 1: business guys. And he basically is asking for a cut
• 51:20
  Speaker 1: of the film and they're trying to explain to him that, hey,
• 51:22
  Speaker 1: this is a documentary, and that's usually not done in
• 51:25
  Speaker 1: documentaries because, A, it makes it look like who's got
• 51:29
  Speaker 1: editorial control. If the subject is making money off this,
• 51:32
  Speaker 1: maybe you're going to be acting a different way because
• 51:35
  Speaker 1: you know you're getting compensated. And he brings up, you know,
• 51:38
  Speaker 1: some random example. I think of like the Meghan Markle
• 51:42
  Speaker 1: and Prince Harry. He's like, well, they got $ 100 million
• 51:43
  Speaker 1: for theirs. And they're like, yeah, that's not really what
• 51:47
  Speaker 1: this is. And also, isn't this documentary supposed to be
• 51:51
  Speaker 1: your way to show the world of how transparent you
• 51:54
  Speaker 1: are and how like this wasn't about scamming people out
• 51:57
  Speaker 1: of money? It's going to look weird if you're asking
• 51:59
  Speaker 1: for money. So anyways. It turns into this whole point
• 52:02
  Speaker 1: of contention because then right before Elizabeth goes to prison,
• 52:06
  Speaker 1: she makes this comment to Nathan where she says, yeah, well, like,
• 52:10
  Speaker 1: you know, I don't even know why I'm doing this.
• 52:12
  Speaker 1: I'm like, we're not getting anything out of this. Not
• 52:14
  Speaker 1: like we're making money off of it. And he realizes that. A,
• 52:18
  Speaker 1: that either she's lying, that it was so orchestrated, that
• 52:23
  Speaker 1: they were so manipulative, that they had planned out ahead
• 52:26
  Speaker 1: of time, hey, at some point, Elizabeth is going to
• 52:28
  Speaker 1: leave the room, and then Billy's going to bring up money,
• 52:31
  Speaker 1: and then she's got plausible deniability of like, oh, I
• 52:34
  Speaker 1: wasn't there at that time.
• 52:36
  Speaker 3: Or.
• 52:37
  Speaker 1: that was all organic. She got caught out of the room.
• 52:39
  Speaker 1: Billy pounced on something and exploited it and never told
• 52:43
  Speaker 1: her that they were getting paid. So this becomes the
• 52:45
  Speaker 1: thing like, okay, we're going to tell Elizabeth that Billy
• 52:48
  Speaker 1: was actually taking money for this documentary and not telling her.
• 52:52
  Speaker 1: And that's going to make her upset. And they tell
• 52:54
  Speaker 1: her about it, um, in jail when Nathan goes to
• 52:58
  Speaker 1: meet her before Billy shows up. And she's just like,
• 53:01
  Speaker 1: Oh yeah, you know, that's Billy. He's got his ways
• 53:04
  Speaker 1: and I got my ways. Um, And I guess both
• 53:06
  Speaker 1: of them are sort of deflated. They're kind of like, man,
• 53:08
  Speaker 1: that was this big reveal. And here's Elizabeth Holmes, just like, yeah, okay, whatever.
• 53:13
  Speaker 1: That's fine. Oh, he's tweeting. He's getting into Twitter wars
• 53:16
  Speaker 1: over weed and Charlie Kirk and my name.
• 53:18
  Speaker 3: Yeah.
• 53:18
  Speaker 5: Okay.
• 53:18
  Speaker 3: Whatever.
• 53:19
  Speaker 1: That's his, that's his communication style, which is different than mine.
• 53:22
  Speaker 2: Yeah. That's why I think when I was talking in
• 53:24
  Speaker 2: the beginning that she selected him for that reason. So
• 53:29
  Speaker 2: she can look innocent because throughout the film, even, Nathan,
• 53:35
  Speaker 2: they bring up how he has feelings for her and
• 53:37
  Speaker 2: he's protecting her. And as we were watching it, I'm like, oh,
• 53:45
  Speaker 2: you sort of feel the same way where you pretty
• 53:47
  Speaker 2: much fall in love with this character with their big eyes,
• 53:52
  Speaker 2: the close-up.
• 53:53
  Speaker 1: Dude, it's Hypnotoad. I told you it's Hypnotoad.
• 53:56
  Speaker 2: We've been Hypnotoad. But I believe she selected him. Uh,
• 54:02
  Speaker 2: for these same reasons. And it could have been an
• 54:04
  Speaker 2: arranged marriage to kind of like we see with a
• 54:07
  Speaker 2: lot of powerful podcasters and stuff like that, that get
• 54:12
  Speaker 2: arranged marriages or even in Hollywood, just the whole celebrity
• 54:17
  Speaker 2: circle or Kings and Queens or whatever it is.
• 54:20
  Speaker 5: It does make sense. Cause it does give her like that.
• 54:23
  Speaker 5: deniability that she can just oh well i don't know
• 54:25
  Speaker 5: billy you know he does the finance thing i'm just
• 54:28
  Speaker 5: a little girl over here just trying to do my
• 54:30
  Speaker 5: time because i'm innocent this whole time it's interesting too
• 54:34
  Speaker 5: because they also bring up the maybe she has stockholm
• 54:37
  Speaker 5: syndrome so let's i go back the thing that's crazy
• 54:40
  Speaker 5: to me and i don't know how you guys felt
• 54:42
  Speaker 5: i i did not leave that film i with a
• 54:46
  Speaker 5: definitive of how i feel like i'm like i kind
• 54:49
  Speaker 5: of think she's like maybe this mastermind but i also
• 54:52
  Speaker 5: think like maybe she is a victim like i can't
• 54:55
  Speaker 5: i could not decide like i drove all the way
• 54:57
  Speaker 5: home like why did i just see like who who
• 55:00
  Speaker 5: is she like i didn't it says you're showing me
• 55:02
  Speaker 5: everything and i saw nothing so.
• 55:12
  Speaker 1: I feel like we've covered a lot of ground already,
• 55:14
  Speaker 1: but let's do hidden treasures and overboard moments. I'll let
• 55:17
  Speaker 1: you guys go first. Basically, like what was the biggest
• 55:22
  Speaker 1: highlight of this movie and what was the most like
• 55:26
  Speaker 1: the strangest moment? I don't even know if I want
• 55:28
  Speaker 1: to say overboard or underboard, but what was like the
• 55:30
  Speaker 1: weirdest parts?
• 55:31
  Speaker 2: I think what they used for the trailer where there
• 55:34
  Speaker 2: was that close up of them so close to each other.
• 55:37
  Speaker 2: And he's like, are you being real with me? And
• 55:39
  Speaker 2: she's like, yeah, I'm always being real. And that was
• 55:45
  Speaker 2: probably one of the most impactful using it in the
• 55:48
  Speaker 2: trailer as well.
• 55:51
  Speaker 1: That whole conversation, by the way, it's where she's like,
• 55:55
  Speaker 1: of course, I'm not deceiving you. Why would I deceive you?
• 55:57
  Speaker 1: That's this big viral clip that's been making the rounds.
• 56:00
  Speaker 1: That was in response to Nathan essentially asking her, hey,
• 56:05
  Speaker 1: did you hire me because you thought like, oh, this
• 56:09
  Speaker 1: Comedy Central comedian documentary guy, he doesn't know anything about science,
• 56:15
  Speaker 1: so he can't challenge me. on any scientific claims I
• 56:18
  Speaker 1: make the same way that you can snuggle up to
• 56:20
  Speaker 1: Henry Kissinger and maybe Henry Kissinger, this old, you know,
• 56:25
  Speaker 1: like military sort of political guy isn't going to like
• 56:28
  Speaker 1: nitpick on the actual chemistry with me. So he's asking her,
• 56:32
  Speaker 1: is that why you picked us out of anyone you
• 56:35
  Speaker 1: could have picked? And it kind of leads to that
• 56:37
  Speaker 1: exchange of like, no, of course not, Nathan. Why would
• 56:40
  Speaker 1: I deceive you?
• 56:42
  Speaker 5: I think an interesting moment for me, not besides like
• 56:44
  Speaker 5: I had spoke earlier when they had that awkward, like standoff,
• 56:49
  Speaker 5: I would say when they're saying goodbye and there's just silence.
• 56:52
  Speaker 5: When Nathan writes her a letter in jail, he reveals
• 56:56
  Speaker 5: to her like, Oh, I've had a bad time. I
• 56:58
  Speaker 5: just got a breakup. So I was like, there's probably
• 57:02
  Speaker 5: a lot of stuff obviously left on the edit editing
• 57:04
  Speaker 5: room floor. And I'm like, did Nathan get hypnotized? Did
• 57:07
  Speaker 5: he fall into the succubus? Right. Did he get attached?
• 57:11
  Speaker 5: Because he, it's almost like he was revealing and he
• 57:14
  Speaker 5: didn't say everything, you know, I'm sure he wrote a
• 57:15
  Speaker 5: little bit more, but it almost seemed like someone that like,
• 57:19
  Speaker 5: maybe even not like love as far as like romantic,
• 57:21
  Speaker 5: but at least a really good friendship where he's like, look,
• 57:25
  Speaker 5: I'm having a hard time in life. Like they must've
• 57:27
  Speaker 5: had some deep conversations that didn't make all, couldn't all
• 57:30
  Speaker 5: make the movie. And I found that interesting when he
• 57:33
  Speaker 5: wrote to her and was like, yeah, I'm having a
• 57:34
  Speaker 5: bad breakup. It's either a he felt like she was
• 57:37
  Speaker 5: a really good friend or be like he he had
• 57:40
  Speaker 5: some kind of romantic like love for her. And I
• 57:43
  Speaker 5: and that makes me lean more towards like, OK, she's some.
• 57:48
  Speaker 5: She's like built in a lab and she's here to
• 57:49
  Speaker 5: hypnotize us all. And she's like, no, why would I
• 57:52
  Speaker 5: lie to you? And those big bulgy eyes that are
• 57:55
  Speaker 5: like popping out of her head, like those are some
• 57:58
  Speaker 5: of the biggest eyes I've ever seen. And then her
• 58:00
  Speaker 5: her face, her mouth, it looks like she's structured like
• 58:03
  Speaker 5: a porcelain doll, kind of like, you know, like a.
• 58:06
  Speaker 5: There's that horror movie. I think it's called Annabelle or whatever.
• 58:09
  Speaker 5: It kept that kept ringing the bell for me. I
• 58:11
  Speaker 5: could not stop looking at her, but also because maybe
• 58:13
  Speaker 5: because of the closeups.
• 58:15
  Speaker 4: Right.
• 58:15
  Speaker 5: But I couldn't stop looking at her mouth and her structure.
• 58:18
  Speaker 5: It almost looked like a puppet.
• 58:21
  Speaker 1: The craziest part of this whole movie and the whole
• 58:24
  Speaker 1: time I'm watching this from the time I sat down
• 58:26
  Speaker 1: and the credits start opening. And I'm just wondering, like,
• 58:31
  Speaker 1: how is this going to be a Nathan Fielder documentary?
• 58:33
  Speaker 1: Because I'm very familiar with all of his work, Nathan
• 58:37
  Speaker 1: For You, and The Curse, and The Rehearsal, and everything, right?
• 58:42
  Speaker 1: And I'm just watching. I'm like, where's that Nathan Fielder
• 58:44
  Speaker 1: part going to come in? And of course, the eggs
• 58:46
  Speaker 1: and all the weird, awkward moments. But the second that
• 58:49
  Speaker 1: he hires Amanda Seyfried and shows Amanda a video of
• 58:55
  Speaker 1: Elizabeth watching Amanda playing Elizabeth... and then brings Amanda Seyfried
• 59:00
  Speaker 1: over to meet the husband, and she's meeting the kids,
• 59:03
  Speaker 1: and Elizabeth calls from jail, and you can tell Amanda's
• 59:08
  Speaker 1: like freaked out because it's like I'm in this lady's
• 59:11
  Speaker 1: house next to her kids. She's got two minutes on
• 59:14
  Speaker 1: the prison phone and she's like talking to me and
• 59:18
  Speaker 1: you can tell she feels bad because it's like you
• 59:20
  Speaker 1: should be talking to your kids. Like I'm taking time
• 59:23
  Speaker 1: out of your prison call right now. And like that
• 59:26
  Speaker 1: scenario just existing, that doesn't happen in any reality except
• 59:30
  Speaker 1: for where Nathan Fielder is somehow involved in all this.
• 59:34
  Speaker 1: And that was like that moment when I realized, oh,
• 59:37
  Speaker 1: my God, he's going to have Amanda reenact all these
• 59:40
  Speaker 1: phone conversations, all these things that happened off camera, because
• 59:44
  Speaker 1: that's what the rehearsal is all about. And that was
• 59:47
  Speaker 1: when it clicked in my brain. I was like, this
• 59:49
  Speaker 1: this is an extension of the rehearsal, right? was this
• 59:52
  Speaker 1: whole premise of like getting the person that's already acted
• 59:56
  Speaker 1: as her to continue acting as her. And then that
• 59:59
  Speaker 1: person gets offended on Elizabeth's behalf and tries to like,
• 1:00:04
  Speaker 1: you know, intermingle with her actual real world relationships, even
• 1:00:07
  Speaker 1: to the very end. When Amanda is almost scolding Nathan, like, Nathan,
• 1:00:13
  Speaker 1: you know, this woman, like, you've fallen in love with her.
• 1:00:16
  Speaker 1: I can't believe you're buying this. And then Nathan's like,
• 1:00:19
  Speaker 1: have I? And then the movie kind of ends on that, right? Like,
• 1:00:22
  Speaker 1: what an absolute mind meld.
• 1:00:25
  Speaker 5: And his attention for detail, even when she was in
• 1:00:28
  Speaker 5: the prison, they even had her lips chapped.
• 1:00:31
  Speaker 6: I kept noticing.
• 1:00:31
  Speaker 5: I'm like, man, he has this sense of detail that
• 1:00:35
  Speaker 5: is just so great. I think that's what really makes
• 1:00:38
  Speaker 5: it stand out. It's not like, oh, I'm just reenacting.
• 1:00:40
  Speaker 6: He goes on. Through it, like, okay, this is how
• 1:00:44
  Speaker 6: she looked. Her lips were chapped. Her hair was messy.
• 1:00:47
  Speaker 5: It's not just, oh, she's acting as her, like, literally
• 1:00:49
  Speaker 5: becoming her almost, right?
• 1:00:51
  Speaker 6: Like, it's something that's so genius.
• 1:00:54
  Speaker 5: I think that not everybody can appreciate that.
• 1:00:57
  Speaker 6: But when I saw those little details.
• 1:00:58
  Speaker 5: Throughout when he's reenacting and how things happen, it's just genius.
• 1:01:08
  Speaker 1: This is everybody's favorite part. Think or Swim. Dona, you
• 1:01:13
  Speaker 1: go first. Is this documentary, you can see everything, 2026,
• 1:01:17
  Speaker 1: Nathan Fielder, Think or Swim?
• 1:01:21
  Speaker 2: It was great. It's going to go down in history
• 1:01:24
  Speaker 2: as one of the greatest documentaries of all time, up
• 1:01:28
  Speaker 2: there with the Werner Herzogs. So that means swim. It's
• 1:01:34
  Speaker 2: swimming all the way to that beach, Who was swimming
• 1:01:40
  Speaker 2: at the end? Was that the actress?
• 1:01:43
  Speaker 1: No, that was actual Elizabeth Holmes and her husband, Billy.
• 1:01:48
  Speaker 1: And that happened outside their little beach house.
• 1:01:52
  Speaker 2: It didn't look like them, but okay.
• 1:01:53
  Speaker 6: I thought it was Nathan. I thought it was too.
• 1:01:56
  Speaker 6: I thought it was Nathan and Elizabeth.
• 1:01:59
  Speaker 5: Cause remember they had that scene where she asked him like, Hey,
• 1:02:02
  Speaker 5: you know, nothing like a refreshing by going swimming. And
• 1:02:05
  Speaker 5: he's like, I don't really like cold water. And it
• 1:02:07
  Speaker 5: kind of ends on that scene. So I was wondering
• 1:02:09
  Speaker 5: if they were going back to that, but, but I
• 1:02:11
  Speaker 5: was kind of, I don't know.
• 1:02:13
  Speaker 6: I'm kind of mine.
• 1:02:15
  Speaker 1: It could have been Nathan and Amanda as Elizabeth.
• 1:02:18
  Speaker 2: Right.
• 1:02:18
  Speaker 4: Yeah.
• 1:02:22
  Speaker 1: What about you, Sean?
• 1:02:23
  Speaker 5: For me, man, this is a top 10, top five.
• 1:02:26
  Speaker 5: This is like Michael Phelps for us. You know, when
• 1:02:29
  Speaker 5: we say this is like a swim, swim, this is
• 1:02:31
  Speaker 5: something that you have to go see.
• 1:02:34
  Speaker 6: I was a three hour.
• 1:02:35
  Speaker 5: Documentary that I'm not like, oh my gosh, like I
• 1:02:38
  Speaker 5: got to fast forward.
• 1:02:39
  Speaker 6: Like I'm captivated the whole time. Like they just, suck
• 1:02:42
  Speaker 6: you into this story. And it's crazy because you don't
• 1:02:45
  Speaker 6: really get a lot of information.
• 1:02:46
  Speaker 5: It's not like I learned everything about Elizabeth Holmes and
• 1:02:50
  Speaker 5: what she, you know, you get bits and pieces of
• 1:02:51
  Speaker 5: what happened to her, but you don't get the details
• 1:02:54
  Speaker 5: that we normally would look for in a documentary, right?
• 1:02:57
  Speaker 5: When we're like, okay, they're talking about Aleister Crowley or
• 1:02:59
  Speaker 5: they're talking about a public figure. We want to know
• 1:03:02
  Speaker 5: the details. We want to know the extra things that
• 1:03:04
  Speaker 5: we don't know about. I got a point of view
• 1:03:08
  Speaker 5: of human beings, right? These different interactions. And Nathan was
• 1:03:12
  Speaker 5: able to bring out this weird connection where like, now
• 1:03:16
  Speaker 5: I see this guy, Billy, as not only a narcissistic
• 1:03:19
  Speaker 5: like threat, but then I'm also like, is he also
• 1:03:22
  Speaker 5: being played?
• 1:03:23
  Speaker 6: Like, it's just so many layers.
• 1:03:25
  Speaker 5: It's like this inception documentary where it's layer after layer
• 1:03:28
  Speaker 5: after layer.
• 1:03:28
  Speaker 6: You're not sure where you're at. So it's a Michael
• 1:03:30
  Speaker 6: Phelps for me. It's a swim.
• 1:03:33
  Speaker 1: This one is another thing that's really important to consider
• 1:03:37
  Speaker 1: here is that Elizabeth Holmes is a part of like
• 1:03:42
  Speaker 1: American and world and human history. She was the youngest
• 1:03:46
  Speaker 1: female self-made billionaire in history at the age of 30.
• 1:03:51
  Speaker 1: Her company was evaluated at $ 4. 5 billion. So to put
• 1:03:58
  Speaker 1: into context, the only other self-made billionaire woman up to
• 1:04:03
  Speaker 1: that point was Oprah. And Oprah didn't get her billion
• 1:04:07
  Speaker 1: until she was like almost 50, like she was 49
• 1:04:09
  Speaker 1: or something. So Elizabeth Holmes is the youngest self-made female
• 1:04:15
  Speaker 1: billionaire woman. in American history and Nathan Fielder somehow is
• 1:04:20
  Speaker 1: the one that ends up making the documentary on her
• 1:04:23
  Speaker 1: life and her going to prison and it opens up
• 1:04:26
  Speaker 1: so many more like rabbit holes and worm holes and
• 1:04:29
  Speaker 1: cans of worms and cans of rabbits and all the
• 1:04:32
  Speaker 1: weird Nathan Fielder things would open up. I also give
• 1:04:35
  Speaker 1: this one a pure swim. I almost feel that this
• 1:04:39
  Speaker 1: is just an extension of the rehearsal. This is like
• 1:04:41
  Speaker 1: the rehearsal season 2.5 and That said, I still think
• 1:04:47
  Speaker 1: that there's episodes of Nathan For You, which are even
• 1:04:51
  Speaker 1: better than this documentary. But that doesn't mean that this
• 1:04:54
  Speaker 1: documentary isn't worth seeing. Absolutely, I recommend it. I also
• 1:04:57
  Speaker 1: think it's in, like, top ten of documentaries that we'll
• 1:04:59
  Speaker 1: ever see. This is going to be one that people
• 1:05:01
  Speaker 1: are talking about for years and years to come. Um, I, I,
• 1:05:05
  Speaker 1: I give this one the highest praise possible. It's up
• 1:05:08
  Speaker 1: there with Werner Herzog. I hope we see a lot
• 1:05:11
  Speaker 1: more from Nathan Fielder, uh, down this path. I hope
• 1:05:14
  Speaker 1: he makes the next Melania documentary.
• 1:05:16
  Speaker 6: And I got a question for you guys. Are you
• 1:05:18
  Speaker 6: under mind control?
• 1:05:19
  Speaker 5: If you're under mind control, maybe you go to Illuminati comics.com
• 1:05:23
  Speaker 5: and go get that right now, because then you could
• 1:05:25
  Speaker 5: understand what it lives. Elizabeth Holmes was trying to play
• 1:05:28
  Speaker 5: on all of us. Maybe she has us all fooled.
• 1:05:30
  Speaker 5: Maybe this wasn't a swim, but she got us all
• 1:05:32
  Speaker 5: under her mind control. Um, Don't forget to go to ParanoidAmerican.com.
• 1:05:36
  Speaker 5: Go check out Donut on YouTube, man. Always cracking it
• 1:05:38
  Speaker 5: off over there. We got KillTheMonkeyBirds.com, UnderTheDocs.com. This is another
• 1:05:43
  Speaker 5: episode of Under The Docs.
• 1:05:44
  Speaker 2: Peace.
• 1:06:02
  Speaker 3: Bye.
• 1:06:02
  Speaker 2: Bye.
• 1:06:34
  Speaker 1: Just buy something from Paranoid American.
• 1:06:39
  Speaker 3: Just buy something.
• 1:06:44
  Speaker 5: Just buy something from Paranoid American.
• 1:07:00
  Speaker 4: I scribble my life away, driven to write the page.
• 1:07:03
  Speaker 1: Will it enlighten your brain?
• 1:07:04
  Speaker 4: Give you the flight, my plane paper, the highs ablaze.
• 1:07:07
  Speaker 4: Somewhat of an amazing feel. When it's real to real,
• 1:07:10
  Speaker 4: you will engage it. Your favorite, of course, the lord
• 1:07:13
  Speaker 4: of an arrangement. I gave you the proper results to
• 1:07:16
  Speaker 4: hit the pavement. If they get emotional, hey, maybe your language,
• 1:07:19
  Speaker 4: a game. How they playing it well without lay.
• 1:07:22
  Speaker 1: Cause evade them, whatever.
• 1:07:23
  Speaker 4: The cost, they are the shapeshift.
• 1:07:25
  Speaker 1: Snakes get decapitated, matters the apex. Execution of flame.
• 1:07:29
  Speaker 4: You out nuclear bomb Distributed at war, rather gruesome for
• 1:07:33
  Speaker 4: eyes to see Maxim out and I light my trees
• 1:07:36
  Speaker 4: Blow it off in the face, you're despising me for
• 1:07:39
  Speaker 4: what though? Calculated and rather cutthroat Paranoid American, must be
• 1:07:43
  Speaker 4: all the blood smoke for real Lord, give me a
• 1:07:45
  Speaker 4: day away, vacate They wait around to hate whatever they
• 1:07:49
  Speaker 4: say Matter's not in the least bit weak It heavy
• 1:07:53
  Speaker 4: rotate when the beat hit So thank us you're welcome,
• 1:07:56
  Speaker 4: you're welcome They ain't never had a deal. You're welcome.
• 1:08:01
  Speaker 1: Man, they lacking a pill.
• 1:08:02
  Speaker 6: You're welcome.
• 1:08:04
  Speaker 2: Yet they doing it still.
• 1:08:05
  Speaker 4: You're welcome.