In You Can See Everything, it’s Elizabeth Holmes’s partner who makes for 2026’s timeliest villain
The new documentary You Can See Everything, which focuses on Elizabeth Holmes, has unexpectedly shifted its villain from the disgraced Theranos founder to her partner Billy Evans.
The surprise documentary smash You Can See Everything has become a cultural event, but its focus has shifted from its nominal subject, Elizabeth Holmes, to her partner Billy Evans.
Holmes, the disgraced Theranos founder currently serving a prison sentence for defrauding investors, is the film’s literal poster gal, but Evans has emerged as the story’s true antagonist.
Co-directed by Nathan Fielder and Lance Oppenheim, the film features Holmes, Fielder, and Evans as its four central characters, with Evans’s screen time and memorability proving surprisingly high.
Evans’s demands and control
Evans, a not-particularly-famous man who has been with Holmes since 2018 and has two children with her, is portrayed as a controlling figure who violates documentary norms.
He calls a meeting to demand a percentage of the film’s profits, an arrangement typically reserved for a musician’s promotional piece, not a nonfiction film about a notorious subject.
Fielder and Oppenheim zero in on the question of whether Holmes knew about this request and what became of it.
Before the film’s two-year time-jump, Evans also demands privacy when he grows uncomfortable with questions asked of Holmes and appears fully nude on camera.
He is shown casually relieving Holmes of egg-scrambling duty because he believes she is not stirring vigorously enough, a small but telling moment of his micromanagement.
Post-incarceration radicalization
After Holmes’s incarceration, Evans seems to exert even more control over her, using his access to her social media to engage in petty clapbacks that seem entirely out of character for her.
He also uses his control of her AI likeness to boast about how much healthier she looks as a prisoner than she did immediately postpartum.
The film documents Evans’s increasingly intense post-“woke” radicalization, including time spent at a shooting range, claims of carrying a gun everywhere, and praise for figures like Charlie Kirk.
He brags about his own supposed vindictiveness, presenting himself as a figure of unchecked power over the damaged brand that is Elizabeth Holmes.
The fake tech-bro villain
Evans checks plenty of boxes for a real-life tech-bro villain, but he lacks the demonstrated expertise or success that would make him a figure of genuine influence.
The film even refers to Holmes’s turn in that particular hot seat as the subject of The Dropout, a story that exists adjacent to narratives about tech-forward monsters.
Unlike Elon Musk or Mark Zuckerberg, who have successfully made money and placed products in the hands of millions, Evans has no such claims to fame or notoriety.
He is a fake-it-til-you-make-it-and-then-keeping-faking-it type, more akin to a reality star or a filibustering podcaster than a visionary founder.
The film suggests that Evans represents hustle-and-grind culture in its final dehumanizing form, a restless lack of achievement that makes him a compelling, if petty, villain.
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