Overview of Nathan Fielder Mania & ‘Odyssey’ Oscar Buzz
Peter Hamby and Matt Belloni spend the episode on two big entertainment-business stories: A24’s surprise hit, You Can See Everything — a Nathan Fielder/Elizabeth Holmes project that’s drawing huge theatrical interest and plenty of debate over whether it’s truly a documentary — and the first wave of awards-season chatter, where Christopher Nolan’s Odyssey is already being treated like the Best Picture frontrunner.
A24’s Surprise Hit: You Can See Everything
Why it’s breaking out
- Belloni says the film’s success comes from a combination of:
- highly compelling subject matter
- Nathan Fielder’s cult following
- Elizabeth Holmes/Theranos still being a “can’t look away” cultural story
- A24’s carefully engineered scarcity and intrigue
- A24 reportedly kept the project secret for years, then used a stealth rollout at Telluride, followed by a controlled release strategy and meme-friendly marketing.
Marketing strategy that worked
- The trailer and imagery were designed to go viral.
- A24 leaned into mystery, not explanation.
- The film’s release in roughly 800 theaters created both exclusivity and urgency.
- Belloni says the campaign helped turn the movie into a genuine event.
Why people are arguing about it
- The documentary community is unhappy with the film’s framing.
- Critics inside the doc world object to:
- reenactments
- celebrity appearances/cameos
- the film’s loose relationship to traditional documentary rules
- Belloni suggests the movie may be more likely to receive a Best Picture nomination than a Best Documentary nomination.
Holmes portrayal and reaction
- Belloni is blunt that the movie does not make Elizabeth Holmes sympathetic.
- He argues the film reinforces the idea that she carefully constructed a persona and manipulated people around her.
- The much-discussed “Who’s on First” scene is highlighted as one of the film’s best and most revealing moments.
- Billy Evans comes off poorly, and Amanda Seyfried’s performance/portrayal also raises questions about how the film shapes public perception.
Awards-Season Buzz: Early Contenders
The likely frontrunner
- Belloni says Odyssey is the current Best Picture favorite.
- Why it stands out:
- Christopher Nolan’s recent prestige momentum after Oppenheimer
- massive ambition
- strong box office potential
- broad industry support
Other titles in the mix
Belloni runs through a growing list of contenders, including:
- La Bola Negra — a Netflix gay historical drama
- Elsinore — with Andrew Scott in a major performance
- Wild Horse 9 — a Martin McDonagh film Belloni says is one of his favorites
- Artificial — the Sam Altman/AI movie, now at Neon
- The Debut — a lighter, very funny film with Julianne Moore and Paul Giamatti
- I Play Rocky — a Stallone-making-of story with awards potential
- You Can See Everything — which could land in the Best Picture conversation
The Sam Altman movie, Artificial
- Belloni says Amazon’s earlier negative spin on the movie was motivated by its business ties to OpenAI.
- He believes the film is good, if not great, and says Neon should position it well.
- Andrew Garfield is praised for his performance as Altman.
- Belloni thinks the film’s anti-Amazon angle may play well with Oscar voters.
The Social Reckoning underperforms
- Aaron Sorkin’s sequel-like Facebook/January 6th movie did not connect commercially.
- Belloni says:
- opening weekend was weak
- reviews were mixed
- the movie was too niche for most audiences
- He notes Sorkin’s original pitch was more politically pointed than the marketing later suggested.
Notable Takeaways
- A24 knows how to manufacture event status without overexposing a film too early.
- Oscar voters may reward theatricality and cultural relevance, especially if a movie feels like a “must-see” industry conversation starter.
- Documentary rules are being stretched by hybrid films that blur journalism, performance, and narrative construction.
- The awards race is already taking shape early, with Odyssey in pole position and several smaller, prestige-driven contenders trying to break through.
Closing Notes
- The episode ends with a bit of Oscar-season banter, including speculation about whether Paul Giamatti might finally win an Academy Award.
- Hamby and Belloni also joke about Giamatti’s post-screening routine becoming part of awards-season tradition.