JOHN PODHORETZ REVIEWS YOU CAN SEE EVERYTHING: “Two words: Holy cow.”

So this is a very brilliant bit of storytelling. Because Billy’s membership in the cult of Elizabeth helps explain implicitly just how it was this 30-year-old managed to con Rupert Murdoch (to take one example of her marks) out of $125 million. Her ingenuousness, her seeming nerdy unworldliness, making herself into a female visual analogue of Steve Jobs—all of this, all of it, was central to her con. And Billy, like Doyle Lonnegan in the greatest of all con-job movies, The Sting, is the ultimate mark, because he’s a believer in the long con—he is left innocent of the knowledge that he was taken as he cuddles his children and begins to fear unknown people for unknown reasons are tailing him everywhere.

So, too, Fielder. He never breaks character—and that’s the point, because in this movie, he is a character. In fact, he’s the lead character, not Elizabeth Holmes. Fielder and Oppenheim build to a conclusion in which we are led to believe Nathan has basically fallen in love with her. In portraying himself (surely falsely) in this fashion, Fielder is recapitulating the process by which Elizabeth Holmes acted on the weaknesses and desires of men to perpetrate one of the nerviest frauds in American history. He shows how she won people over, how she got what she needed, and how even, in her disgrace, she still has the power to seduce. What an achievement this movie is. There’s never been anything like You Can See Everything and there never will be again.

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