You Can See Everything is the best social horror movie of 2026 (preview)

Every week, Lily or Emily write and publish a Friday newsletter about what's happening right now in pop culture. It's only for paid subscribers! Here's an excerpt from this week's piece, in which Lily argues for You Can See Everything's place in the modern horror canon. If you want to read the rest, pick up a premium Episodes subscription using the button below!

As regular Episodes readers know, I don't scare particularly easy. But, coming out of Nathan Fielder and Lance Oppenheim's new documentary You Can See Everything, I felt nothing but complete, overwhelming dread. After the credits rolled, I stared at my shoes for five minutes, breathing quick and shallow from lingering anxiety. Hours later, I still felt my entire body vibrating with fear as I lay in bed, trying and failing to sleep. There is no question in my mind that You Can See Everything is the scariest horror movie I've seen this year — and possibly the scariest one this decade.

Admittedly, it feels strange to call You Can See Everything my favorite horror movie of the year, and not just because films like Obsession, Backrooms, and Robert Eggers' upcoming Werwulf have made this an absolutely jam-packed year for horror cinema. While horror film is a broad genre, it tends to only incorporate fiction on principle. Documentaries tend to get lumped, instead, into true crime. And the crimes committed by Elizazbeth Holmes, You Can See Everything's subject, were nonviolent and white-collar — hardly the typical subject matter of a frightening true crime doc.

And yet it's self-evident to me that You Can See Everything is a horror movie. I'd go so far as to say it has the potential to be a tentpole of the genre, not merely an exception but a full-on archetype. And I hope it rises to that canonical status: It's a horror movie that other horror filmmakers ought to learn from if they hope to keep their genre fresh and vital.

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