You Can See Everything (2026)

I watched You Can See Everything in theaters, not knowing quite what to expect. I’d watched the trailer at least 20 times beforehand, read the movie’s wiki (I know, I know, I shouldn’t have), and watched countless clips of The Dropout to glean as much information as possible in preparation. I’d heard people call the movie a work of art. It has a 99% score on Rotten Tomatoes, and I recall one critic saying they’d be thinking about it for a long time. Needless to say, I walked in with a lot of anticipation.

I must say, the movie did not disappoint.

To give a brief overview, You Can See Everything is ostensibly a documentary about Nathan Fielder (a deadpan comedian) and Lance Oppenheim (a filmmaker) staying with Elizabeth Holmes (the disgraced former CEO of Theranos) and her husband, Billy Evans, to chronicle their family life in the 30 days leading up to her 11-year prison sentence. But the movie is much more than that... and the second half is wildly different from the first.

One detail worth pointing out: Holmes herself asked for this documentary to be made.

SPOILERS AHEAD

Billy, as Holmes’ husband, plays a huge role in the film. Initially, he comes across as a supportive partner who adores her personality quirks. But as the film progresses, we begin to question whether his affection is intertwined with the control he exercises over their finances and her public image.

He's been managing her Twitter accounts, publishing an AI-generated version of her online, and supporting a media personality who's been putting up billboards featuring Holmes all over the place... billboards with images she openly disapproves of on camera. When Fielder confronts Billy about this, Billy insists that Holmes approves of everything he does and would wholeheartedly agree with his decisions. Her life's goal, he claims, is to build monuments of love for him. And, rather surprisingly, she verbally agrees.

To complicate matters further, Billy attempts to strike a deal with A24 to profit financially from their participation in the film. Whether Holmes knows about this becomes something of a mystery, one that Fielder investigates in a revealing climax.

So, do Billy and Holmes actually love each other?

At one point, Holmes' father reveals that she was raped at Stanford. He goes on to suggest that Sunny Balwani, the former COO of Theranos, was largely responsible for her downfall. Yet when Fielder asks him about Billy, he simply says, "I trust Billy." Does he genuinely believe that? Or is there something else going on? We can't really know. But by this point, it's difficult not to view Billy's behavior as controlling, perhaps even narcissistic.

As for Holmes herself, the film complicates our perception of her guilt by presenting someone who appears remarkably sincere. She cries frequently on camera, speaks passionately about her good intentions for Theranos and the world, and seems genuinely affectionate toward Billy and their children.

There are also sequences that suggest her mind works differently from other people's. For example, she struggles to understand the classic joke "Who's on First?" and, in a rather stunning sequence, can't seem to grasp the distinction between the phrases "this machine can run multiple tests" and "this machine is capable of running multiple tests." She also describes herself as overly trusting.

All of this raises an interesting question: what really explains Holmes' downfall? Is she a victim of sexual assault and toxic relationships? Is she a calculating genius who knows exactly how to manipulate people's perceptions? Could both things be true?

The film doesn't offer easy answers. In fact, contradictions in Holmes' narrative continue to emerge. She claims she never felt comfortable in the spotlight and doesn't particularly care about being rich. Yet she agrees to have a documentary made about her, and her husband seems deeply invested in controlling and commercializing her public image. 

Perhaps the most interesting relationship in the film, though, isn't between Holmes and Billy. It's between Holmes and Fielder.

Throughout the documentary, Holmes appears unfailingly kind to Fielder, allowing him to "see everything." She maintains unwavering eye contact when he questions her, embraces him warmly, and continues to show him affection even from prison. Somewhere along the way, Fielder seems to develop a soft spot for her.

In the second half of the film, he brings in Amanda Seyfried (who played Holmes in The Dropout) to reenact moments from Holmes' life that he didn't get a chance to film. As they work through the script, Seyfried raises a fascinating meta-dilemma: what if Fielder is selectively remembering Holmes' words in ways that make her appear more genuine?

"Why?" he asks.

"Because you care about her," Seyfried replies.

Fielder defends the accuracy of his recollections, but there's a certain twinkle in his eyes as he reminisces about his time with Holmes. It's a subtle moment, but one that makes us question his objectivity.

By the end, I almost wondered whether the joke was on us, the audience, for trusting Fielder to tell us the truth. A classic Nathan for You move.

And this brings me to what I found perhaps the most fascinating idea in the film.

At one point, Fielder talks about the magician David Blaine, who performs a magic trick by actually sticking an ice pick through his hand, while the audience assumes it's an illusion. The trick works precisely because the audience can't imagine that what they're seeing is real.

I think this analogy translates remarkably well to Holmes' performance in the documentary.

What if Holmes' greatest trick is that she doesn't have to pretend to be a victim? What if her suffering in a controlling relationship is entirely genuine, but witnessing that suffering leads us to believe she's innocent of wrongdoing elsewhere?

After all, being a victim in one part of your life doesn't necessarily make you innocent in another.

Perhaps that's the real trick. Just as Fielder seems increasingly swayed by Holmes' apparent sincerity, we find ourselves sympathizing with her without ever really knowing her intentions. And maybe that's exactly what the film wants us to confront: how easily we mistake sincerity for truth.

You Can See Everything is a fascinating film to watch, reflect on, and discuss. I would highly recommend it.

Obsession (2025)

To understand the plot of Obsession (2025), all you need to do is watch the trailer. It’s one of the few horror films I’ve seen that doesn’t have a plot twist, and yet it’s SO good. It’s unsettling, creative, and masterfully edited. I love the soundtrack and the lighting. 

In the movie, we meet Bear. Bear is a seemingly kind and sensitive young man who has a deep crush on his co-worker, Nikki. Bear tries, unsuccessfully, to tell Nikki how he feels about her in a scene most of us can relate to. After failing to do so, Bear breaks a “one wish willow” (a gadget he buys from a store) and wishes that Nikki would love him more than anything else in the f******* world. Now, did Bear expect this wish to come true? No. But we did! Especially if you watched the trailer... 

------ SPOILERS AHEAD (if you will)...

What follows is quite telling. It turns out, Bear enjoys the initial stages of Nikki being in love with him, although there are some obvious signs that Nikki is not acting normally: not just as a lover, but as a human being. 

Then, she gets really creepy: at times, she walks backwards, watches him sleep, and exhibits psychopathic behavior. In one excruciating scene, she stands in the same spot in the living room for hours, smiling unnaturally and urinating on the floor as she waits for him to come home.

As for Bear, at some point, he realizes that his wish has come true and is responsible for Nikki's drastic change in behavior, yet he does absolutely nothing about it until it's too late. I’d watch it to find out more...

---

Despite what my spoilers suggest, Obsession isn’t completely serious. There’s an element of humor mixed into the uncanny, and the actors do a brilliant job of playing to the mood. I also enjoyed Inde Navarrette’s performance as Nikki. She can go from perfectly normal to extremely creepy in what feels like milliseconds.

My takeaway is this: Obsession raises many questions: what possesses Nikki: is it a version of herself, or a supernatural entity? Is Bear mentally healthy? What's the deal with One Wish Willow: who runs the customer service? And that's what makes it such a powerful film. It invites the audience to observe the consequences of a single action, all while playing on the age-old saying, "Be careful what you wish for." 

So, if you like films that send you down rabbit holes, this one's for you.

Challengers (2024)

Challengers, is an interesting sports film about tennis... or is it really about tennis? 

The story follows two male tennis players, Art and Patrick, who start as best friends passionate about the game. Their dynamic changes when they encounter Tashi Duncan (played by Zendaya), a teenage tennis superstar they both become obsessed with.

Tashi is a formidable player with a singular focus on winning. As both friends slowly fall deeper into their obsession, they lose sight of their own friendship and start become obsessed with winning. Specifically, winning Tashi. 

SPOILERS AHEAD 

Art eventually marries Tashi, though complications arise. Patrick becomes entangled in their lives through various "challenger" tournaments, and Tashi positions herself as his "prize" to be won. 

Tashi's true motivations are ambiguous, adding to the film's complexity. She might be a slight sociopath driven solely by a need to win and dominate. However, not everything is within her control.

SPOILERS END 

Both men’s love for Tashi is flawed and somewhat toxic. Art is so in love with her, that he'll continue playing competitive tennis at the cost of his own happiness. Patrick's deep infatuation with her brings him to do immoral things so he can run into her again. 

In a way both men "lose" their way in trying to win her. Trying to win her love, and her approval. Tennis ceases to be about the sport and becomes a means to win her.

Tashi embodies the paradox of human desire: the constant drive to win and compare, even though the satisfaction of victory is fleeting and only fuels further desire.

The film masterfully reveals how an obsession with winning can consume us, leading to a satisfying conclusion. It suggests that while our desire to win and achieve can be powerful, true fulfillment comes from appreciating the journey and recognizing our genuine connections.

Bend it like Beckham (2002)

Bend it like Beckham attempts to answer the age-old question plaguing many second-generation Indians growing up in Western countries: am I Indian, or Western? The movie responds in a way that doesn’t simplify anything but connects the dots beautifully: you’re both.

The plot centers on Jess (short for Jassminder), a young Punjabi girl who is extremely passionate about football (soccer). She spends all her spare time thinking about it and fancies playing with some of the guys in her neighborhood. Her sister nudges her to be more like a “normal” girl and wear makeup, tight clothes, and get a boyfriend. Her parents are distraught at seeing her playing with the guys. Yet, she relents and keeps playing.

Jules, another young soccer player, observes Jess on the field and invites her to try out for the women’s (I suspect juvenile women’s) national soccer team. Jess tries out and impresses the earnest/initially skeptical coach (Joe) and makes it onto the team.

There’s only one problem: Jess’s parents don’t know that Jess is playing for the women’s soccer team. And they’d rather she stick to being a “good” Punjabi girl and learn how to make aloo gobi instead. Like many Indian communities, her family wants to maintain a good face in their own community, and we soon find out from Jess’s dad’s past experience: being Indian in any non-Indian sports team could come with its fair share of risk (racism, etc.).

Yet, what follows in Jess’s life on the soccer field are many fruitful things: a strong friendship with Jules, a genuine romantic connection with Joe, and the joy of playing soccer, an activity she loves. The soccer field is like a second home, with Joe, Jules, and her teammates being another family in addition to her own. It becomes more and more difficult to choose one home, and the reality that the movie weaves until the end is that she needs both to feel truly fulfilled.

Many Indian Americans and Indian Europeans, I’m sure, have felt this crisis before: doing something that feels against their parents’ values and upbringing, yet what feels like the best thing to do for themselves. Bend it like Beckham beautifully addresses these topics by highlighting the importance of communication and honesty between parents and their children, and the belief that there can, in fact, be a bridge between both cultures that could lead to a better future for all.

Barbie (2023)

Barbie is a cultural phenomenon, to say the least. I've spoken to many who've seen the movie based on word of mouth. A large poster ad of Barbie hangs down from a skyscraper. I notice this every time I walk over to my sister's place. 

The movie is very thought provocative. At first glance, it seems like a family/kids movie about Barbie making things right: a film with a clear good against a clear bad. However, as the movie unfolds, there's a lot more hidden beneath the layers of pink and perfection. 

*** SPOILERS AHEAD *** 

Barbie was introduced as an alternative to baby dolls. And if you take a microscope and examine the lifestyle and lure of Barbie, there's quite a bit to admire, especially from the perspective of not just a little girl, but any millennial/pre-millennial woman who has grown up playing with a barbie.

Barbie owns her own home, has her own car, and lives in a world with other Barbies. Where barbies (women with model-like figures) run society with smiles, hugs, empathy and feminine intelligence. 

It's a world where women run the show - a utopia for most of us. 

However, just as how the real world sexualizes women, Barbieland sexualizes men. There's no equality in Barbieland just as there is no equality in the real world. 

Everything is put into perspective when Ken (Barbie's supposed boyfriend) flips things upside down in Barbieland: with Barbieland turning into Kendom, and Kens running the show, while Barbies get brainwashed into being bimbos. The only thing that ironically saves the barbies from giving up their independence and intelligence to the kens is hearing from other women how difficult it is to be a woman. In other words, empathy. 

Empathy, death and the meaning of perfection are all themes that come up in Barbie. And as you hear them, you realize that Barbie isn't just about Barbie. It's about all of us, who crave to be perceived, admired and deemed perfect by society. 

And at the end, what Barbie chooses is indeed surprising and satisfying. 

I'd highly recommend watching this film. The acting is pretty good, and the story doesn't fall into a standard action movie with a predictable plot. Instead, it retains its human element, asking honest questions about life, society, and well barbie.

Six (Broadway show)

 Just came back from the wonderful, powerful Broadway show "Six", which shows six strong women with six incredibly strong voices representing the ex-wives of Henry VIII. 

I love the modern twist in style and song that the show places in each of their stories. 

Without giving too much away, I would say that what I LOVED about the show were the vocals and the diversity of voices they cast. I LOVED the people of color representation, and I've heard some of the best solos I've heard in my entire life on that stage. 

What I thought could improve was the reckoning at the end. It's true that the six wives reclaimed their glory by spinning the take to say Henry VIII was in fact remembered because of how distinct and powerful their stories were, but I would have almost liked the show to connect these powerful and somewhat traumatic stories to the day to day. How can a woman living in a society now who maybe hasn't faced such a traumatic story connect to the message? 

There were some deep opportunities to connect their experiences to a deeper meaning that I felt was lost. 

Overall though I would still see the show. The glitz, soul, glamor, and love just poured through and all the actresses were absolutely amazing!!! 

Would HIGHLY recommend it!

Never Have I Ever (Season 2) - 2022

 Never Have I Ever (Season 2), is perhaps one of the best TV shows with Indian American representation that I've seen. The cast is superb, and the themes are certainly relatable.

The show touches on trauma (with loss), adolescence, identity crisis (being Indian vs being American), sexism, and heartbreak; all with a splash of comedy. 

It's masterfully written and there's a certain sense of warmth to the show that makes it overall just a must-see. 

Some of my favorite scenes (spolier below) 

• When Devi tells Paxton that his meltdown was important because it showed him how much he values school inside 
• When Devi tells Paxton that he's not truly doing his best and that he needs to go above and beyond 
• When Devi listens to video recordings of her dad to calm her heart down because of the built-up anxiety and tension 

It's tremendous how great this show is and I would highly recommend!