Billy

Audiences who saw Nathan Fielder and Lance Oppenheim’s hit documentary “You Can See Everything” may have left the theater with a few questions about Elizabeth Holmes and her longtime partner Billy Evans. While the former Theranos CEO is serving time in a Texas federal prison, Evans is active on X and fielding burning questions inspired by the documentary.

If you’ve haven’t yet seen the film, spoilers ahead.

Evans, 34, comes from a wealthy family who owns a luxury resort in San Diego. He and Holmes have two children, a 5-year-old son and 3-year-old daughter, and while Holmes serves an 11-year prison sentence, Evans is raising their kids, pursuing a new biotech venture and running the couple’s X accounts.

In “You Can See Everything,” Evans bares it all for the cameras, revealing everything from his nude body in the shower to his intense personality, among other questionable traits that have been widely discussed since the film hit theaters last month.

On Monday afternoon, he participated in an “AMA” (Ask Me Anything), and fans of the film flooded the comments.

Holmes’ parents, Christian Rasmus Holmes IV (a former vice president at Enron’s Clean Energy Solutions Group) and Noel Anne Holmes (née Daoust), both appear in the film, but as Fielder attempts to interview Holmes’ father, Evans becomes increasingly agitated.

On X, @kalmiavtuber asks, “My biggest question is, Billy, why did you stop Nathan from speaking to Liz’s father? Both Nathan and the audience saw it as integral to the documentary to truly ‘see everything.’ It felt like a missed opportunity that could have continued to give Liz more light.”

Evans replied, “She was going to prison. We had 3 days [together] at the time. I wanted to spend that time together. He interviewed her parents after she went in. They chose not to include that in the film. I didn’t control the edit. If there was something the directors wanted from them they had multiple opportunities to get it.”

One question popped up again and again, in various iterations: “Why did you keep sniffing throughout the documentary?”

And according to Evans, it wasn’t drug-induced sinus issues but, rather, germ- and Texas-induced. He said being a single dad to two toddlers makes him sick “approx 75% of days.” And, “Allergies in Austin TX are no joke. I take Claritin daily. Much less sniffling.”

And as for the blood testing device that Holmes spread out onto the kitchen table — the one that Theranos whistleblower Tyler Shultz said was not the same device that sent Holmes to prison but, rather, a future version of the Theranos product that was never used and never completed — @insistent_dw asked, “If the Theranos machine really worked as Liz said it did, why did it have to be dug out of storage containers in multiple pieces? I’d expect something like that to be locked in a safe and protected if it’s the prized machine behind a once billion dollar company.”

Evans replied, “Fair question. Theranos had been shut down for years, so naturally the hardware was in storage. We deliberately showed a disassembled device to show its internal components, not because that was all that remained. To my knowledge, 16 complete, functioning devices still exist. And Liz wasn’t reading a script. She was reading directly from the trial transcript. The litigation was still ongoing when we filmed.”

Farther down into the thread, one X user asks, “Have you ever told a lie?” To which Evans replies, “Yes.”

And @alexandraandnyc asked Evans to dispel one misconception from the film: “That I somehow control Liz,” Evans replied. “Anyone who actually knows her would find that idea hilarious.”

“She’s fiercely independent, strongwilled, and my best friend. We are partners in every sense. We challenge each other, disagree, and face the world together. Her closest friends are also some of my closest friends. If I ever mistreated her, they’d have my head.”

While it may have surprised audiences, “You Can See Everything,” landed an R-rating for its graphic nudity. One scene in particular features a full-frontal of Evans, and the dad of two has since said that he wasn’t thrilled with the shower scene making it into the film. When X users pressed him on allowing the cameras into the room, he pointed to a People article that featured anonymous sources saying Evans felt exploited and thought the scene would be kept PG.

“Trust the sources,” he said, alongside a link to the story.

Oppenheim, however, told Vulture last month that Evans seemed to initiate the scene: “It seems like he really had something he wanted to show to us and to the world.”

NEW YORK — “860,” the title of Billy Crystal’s tremendously moving new Broadway show at the Imperial Theatre, refers to the address of his house in the Pacific Palisades that was destroyed in last year’s fire.

Crystal re-creates the events of Jan. 7, 2025, as the wildfire that began in the Santa Monica Mountains started making its way down toward his home at 860 Chautauqua Blvd. Video clips of the escalating emergency are shown as a cardigan-clad Crystal, standing in a facsimile of his home office (the conjuring work of scenic designer Scott Pask), re-creates the horror of having to decide what to take with him as the evacuation orders come in.

The photos, awards and other memorabilia aren’t just souvenirs of his storied career. They are pieces of the life he built with his wife, Janice, and their two daughters as well as a record of the friendships that made Hollywood feel like a welcoming community for a wide-eyed Long Island kid.

“860,” impeccably directed by Scott Ellis, occurs in a series of flashbacks. Crystal brings us back to what it was like as he and his wife made their way across a jam-packed Sunset Boulevard in separate cars to the safety of their daughter’s house as smoke and flying embers turned their small-town paradise overlooking the Pacific Ocean into an apocalyptic war zone.

A baseball superfan, Crystal gives us the play-by-play as though he were calling a World Series game that had taken an unimaginable turn. Hana S. Kim and Kylee Loera’s video design turns us into eyewitnesses of that terrible day.

I was in Los Angeles when the Palisades and Eaton fires broke out, but I was far enough away not to feel the immediacy of the threat. Crystal had me in full fight-or-flight mode, as if I were in the car behind him going 5 mph along the only route out of danger.

Billy Crystal in “860” at the Imperial Theatre on Broadway.

(Avery Brunkus)

Making a show about a recent public trauma isn’t easy to pull off, but Crystal has managed it as perhaps only he could. “860” is a meditation on loss, but it’s also a theatrical memoir of his multifarious career as a comic, actor, filmmaker and celebrated Oscar host. He returns to his days on “Soap,” the controversial nighttime parody of a daytime soap opera created by Susan Harris that featured Crystal in the role of Jodie Dallas, one of TV’s first openly gay characters.

Crystal was living in an apartment in then-smog-filled Hancock Park with his wife and daughters when he was filming the show’s third season. The couple wanted to move to an area that had better air quality for their children, and someone asked if he knew about the Pacific Palisades.

“It was a small town, good schools, beautiful afternoon breezes from the nearby ocean, one main street with some shops, a deli named Mort’s that had lean corned beef and a lot of people who didn’t put mayonnaise on pastrami,” Crystal recounts.

The house they came to see wasn’t for them, but a for-sale sign at 860 Chautauqua caught their eye. The real estate agent told them that the owners “were very motivated to sell because they were very motivated not to be together anymore.”

It was December 1979 when, with a 30-year mortgage in hand, they moved into the house. Two women who grew up at 860 (“Imagine the twins from ‘The Shining’ — but they’re 55”) paid a welcome call to say how pleased they were that their former home was back in the hands of show people.

The original owners were vaudevillians who had a mind-reading act and were passionately into the occult. They socialized with the comic luminaries of their day, including humorist Will Rogers, who would regularly stop by on his horse. Behind a secret wall, Crystal found a hidden room with a cork board that had clippings that suggested maybe it wasn’t such an accident that the house became his.

Crystal, the emcee of all emcees (as his performance at this year’s Hollywood Bowl Opening Night once again proved), tells the story of his home with buoyant humor and charm, turning loss into living memory. To set up the meaning of what was destroyed, he takes us back to his roots, starting with his graduation in 1970 from NYU, where he took a film production class with a young Martin Scorsese, who would critique his work in a manner that Crystal, the Al Hirschfeld of celebrity impersonators, hilariously captures.

Crystal’s comic timing was honed in the clubs doing stand-up. Jack Rollins, the producing titan who managed Mike Nichols, Elaine May and Woody Allen, imparted some wisdom after watching Crystal’s act. Crystal thought he killed it that night, but Rollins told him that he failed to “leave a tip,” meaning reveal something about himself in his jokes.

Opening for Blood, Sweat & Tears in Scranton, Pa., a huge opportunity, Crystal faced a hostile audience. But he won the crowd over and thought maybe he could really make this stand-up comedy thing work. But then he was sent back out onstage after lead singer David Clayton-Thomas decided he didn’t want to perform and had to win the jeering music fans over again — and then a third time. While driving home on the New Jersey Turnpike to his wife and baby that night, he felt his future in front of him, having found not only his calling but also his voice.

Crystal’s luckiest break may have been in not being drafted during the Vietnam War, but a close second was being invited to do his Howard Cosell-Muhammad Ali routine at a televised gala for the boxing legend. Crystal not only crushed it but he made a lifelong friend in Ali, who was already his personal hero.

Bonds forged in comedy, like the one he had with Robin Williams, deepened into a lasting brotherhood. Norman Lear cast Crystal as Rob Reiner’s best friend on “All in the Family,” and life imitated art. Their successful collaborations — crystallized in the fake orgasm scene at Katz’s Delicatessen in “When Harry Met Sally” — were an outgrowth of their telepathic comic rapport.

In reviewing his famous life, Crystal reanimates parts of our own. And it’s this shared history that helps us understand what he lost when his house went up in flames. The magnitude of the devastation is made personal for all of us.

But just when you think things can’t get any worse, something completely unthinkable happens. For Crystal, this occurred at the end of 2025, his annus horribilis, when Reiner and wife Michelle were found stabbed to death at their Brentwood home.

Some things are too painful for words, and Crystal knows that sense cannot be made from senselessness. But he’s already told us so much about this unique friendship that nothing more needs to be said.

Crystal doesn’t wallow in grief or self-pity. He bears the weight of his losses with his wit and generous spirit to help us carry the weight of our own. (When he walked into a store to buy a new wardrobe after the fire, he reports, the salesclerk looked at him and said, “Let me guess … Ozempic?”)

No one gets out of this world without becoming a master of the art of losing, to invoke the poet Elizabeth Bishop. But laughter can sustain us through our losses, and Crystal thinks it’s no accident that one of the few things that was salvaged from the ashes of his home was a stone from his garden with the word “laughter” engraved on it.

I found Crystal’s previous solo show “700 Sundays” to be a touch mawkish, so I wasn’t expecting to be so powerfully moved by “860.” But this is just a brilliantly conceived and executed piece, and I hope it yields Crystal another Tony Award.

But even more, I hope the production finds its way home to where it belongs, Los Angeles. We could really use the fortifying laughter.

Elizabeth Holmes is the convicted fraudster at the center of Nathan Fielder and Lance Oppenheim’s hit documentary “You Can See Everything,” but for many viewers, it’s her longtime partner, Billy Evans, who has emerged as the film’s marquee villain.

Evans, 34, comes from a wealthy San Diego hotel family and stood by Holmes as her blood-testing startup Theranos collapsed and she was convicted in 2022 of defrauding investors. The couple has two children, 5-year-old son William and 3-year-old daughter Invicta. With Holmes serving an 11-year federal prison sentence in Texas, Evans is raising their children while pursuing a new biotech venture of his own.

In the film — warning: spoilers ahead — Evans comes across as controlling and increasingly volatile, taking over from Holmes as she whisks eggs, interrupting an interview to demand that the cameras be turned off and at one point casually brushing his teeth while standing stark naked in the shower, with Fielder awkwardly looking on. He speaks of Holmes dedicating her life to building “monuments of love” to him, and in one heated confrontation threatens to ruin the lives of people he believes have wronged her. “I’ve got vengeance in my heart,” he declares.

So who is Evans, how did he end up with one of Silicon Valley’s most infamous figures and what is he up to now?

What do we know about Evans’ upbringing?

Evans grew up in a wealthy, prominent San Diego family. His grandparents, William and Anne Evans, founded Evans Hotels in 1953, opening what became the Bahia Resort Hotel on Mission Bay. The family business later expanded to include the Catamaran Resort Hotel and Spa and the Lodge at Torrey Pines in La Jolla.

Evans attended Francis Parker School, an exclusive private school in San Diego, before graduating from MIT with a degree in economics in 2015. Despite his family’s wealth, Evans is neither an employee nor a shareholder of Evans Hotels, according to a statement the company issued Oct. 1.

His family reportedly had reservations about his relationship with Holmes at first. But his father, also named William, became a supporter — and even went undercover of sorts at her 2021 fraud trial. According to NPR, the elder Evans showed up for jury selection under the name “Hanson,” introducing himself to reporters as a concerned citizen who fixed up old cars for a living. His expensive loafers and a Starbucks cup bearing a different name eventually raised suspicions.

How did Evans meet Holmes?

The two met Oct. 7, 2017, at a Fleet Week party hosted by a venture capitalist in San Francisco, according to Evans. Theranos was already engulfed in scandal, though Holmes had yet to be criminally charged.

In the documentary, Evans recalls that he initially didn’t recognize Holmes because she was wearing a floppy hat, dark sunglasses and a Band-Aid on her face from a scratch by her husky. He says he fell in love with her almost immediately. When Fielder points out that he could barely see her face, Evans replies, “I guess that wasn’t what mattered to me.”

Nathan Fielder observes Elizabeth Holmes with her family in “You Can See Everything.”

(A24)

Holmes says the attraction was mutual. The two became friends and started dating about six months later, just weeks before she was indicted on federal fraud charges.

Fielder asks Evans whether he worried early on that Holmes might be conning him. “100%,” Evans replies, before asking what she would have had to gain from him. “Well, isn’t your family rich?” Fielder asks.

Pressed about the family’s money, Evans grows visibly uncomfortable and cuts the conversation short, saying he needs to get to a cousin’s event.

How is Evans managing life with Holmes in prison?

Since Holmes entered federal prison in May 2023, Evans has been raising their two children in Austin, Texas, bringing them to visit her at the federal prison camp in Bryan. Holmes is expected to transfer to a halfway house outside Austin in August.

In an appearance last week on the tech podcast “All-In,” Evans described the difficulty of the experience. “It’s hard because I’m building a business and I’m trying to free my wife from federal prison and I’m raising two kids,” he said.

Though Evans routinely refers to Holmes as his wife, Holmes said in a 2025 interview from prison with People that they had not legally married: “Maybe we’ll get married someday, but our bond is more than a piece of paper.” The two got engaged in 2018, reportedly at a Taylor Swift concert.

Is Evans trying to revive Theranos?

After graduating from MIT, Evans reportedly attempted to launch a medical concierge service before working at companies including LinkedIn and Luminar Technologies, which developed lidar systems for autonomous vehicles.

In 2022, he founded Haemanthus, a biotech startup developing technology to analyze biological samples using lasers. The company hopes to make diagnostic testing cheaper and more accessible — a mission that may sound awfully familiar to anyone who followed the rise and fall of Theranos.

Haemanthus has reportedly raised millions of dollars but has yet to release a commercial product. Eric Potma, a UC Irvine chemistry professor who consults for the company, told Wired this week that its technology is worth exploring despite significant technical challenges. “The engineers at Haemanthus are legit,” he said.

Holmes’ name does not appear in Haemanthus’ incorporation documents, according to Wired. But in the documentary, the couple is shown discussing plans for a new diagnostic venture, with Evans speaking openly about his desire to revive her original ambitions.

“The idea is to put the band back together and do it all again,” Evans tells Fielder.

How has Evans responded to ‘You Can See Everything’?

Evans and Holmes agreed to participate in the documentary in hopes of changing the public perception of her. Early in the film, Evans explains that they wanted to give the filmmakers extraordinary access to their daily lives, embracing what he calls “radical transparency.”

But Evans’ commitment to transparency had its limits. In the film, he repeatedly tries to shut down uncomfortable conversations and, in a meeting reenacted for the cameras, demands a share of the documentary’s profits — an arrangement Fielder fears could compromise the project’s integrity. Evans ultimately agreed to forgo payment.

At the documentary’s surprise premiere at the Telluride Film Festival in September, Fielder acknowledged that his relationship with Evans had deteriorated as the project unfolded.

“We felt Billy was trying to exert a lot of control over the process, and it sort of caused our communication to break down a little bit,” Fielder said during a Q&A after the screening. “The challenging thing is he’s sort of a conduit to her.”

Speaking on the “All-In” podcast before seeing the finished movie, Evans acknowledged that participating might turn out to be a mistake. “I haven’t seen it yet,” he said. “I might think this is like the dumbest thing I’ve ever done.”

Evans attended a private screening of the documentary on Oct. 16, followed by an off-the-record conversation with Bryan Johnson, the tech entrepreneur known for his elaborate efforts to reverse aging.

In a post on X the following day, Johnson called the film “a masterpiece” and described Evans as “magnanimous in conversation.” Though Johnson said he gave Evans every opportunity to defend himself and “strike back because Fielder roughed him up,” Evans declined.

Evans replied publicly, thanking Johnson for treating their conversation with care. “When the world is against you and the pain is so real,” Evans wrote, “it means so much to have people like you show such kindness.”

It is unclear when Billy Joel will perform again.

The 77-year-old singer has to take “a series of tests” before being able to tour again, he told the Hollywood Reporter in a health update following his 2025 brain disorder diagnosis.

“I’m not allowed to drive,” Joel said in the interview published Thursday. “And I can’t do performances because what the neurologist told me, every time you do a show, it’s like you’re getting a concussion.”

Joel canceled concerts in May 2025 after revealing two months before that he had a brain disorder known as normal pressure hydrocephalus, or NPH, which causes physical and mental issues.

“This condition has been exacerbated by recent concert performances, leading to problems with hearing, vision and balance,” Joel said in a statement on his Instagram in May 2025. “Under his doctor’s instructions, Billy is undergoing specific physical therapy and has been advised to refrain from performing during this recovery period.”

NPH is a brain disorder in which excess cerebrospinal fluid accumulates in the brain’s ventricles, according to the Alzheimer’s Assn. It can cause cognitive issues, difficulty walking and the loss of bladder control. Those suffering with NPH often walk with a wide stance and their bodies bent forward as if they were trying to maintain balance on a boat — a feeling that Joel described while on Bill Maher’s podcast “Club Random” on July 21, 2025.

Other symptoms include mild dementia that involves short-term memory loss, a lack of interest in daily activities and difficulty completing routine tasks.

NPH is one of the few causes of dementia that can be controlled or reversed with surgical treatment, usually involving the placement of a shunt.

It is unclear whether Joel underwent the procedure, although the “Uptown Girl” singer initially postponed his concerts in March 2025 after undergoing unspecified surgery and physical therapy.

The surgery took place just weeks after the crooner lost his balance on Feb. 22, 2025, while performing “It’s Still Rock and Roll to Me” at the Mohegan Sun Arena in Uncasville, Conn.; however, it is unclear if the tumble and subsequent surgery were at all related to the NPH diagnosis he revealed to the public that May.

For now, Joel reports that he is “OK” and the diagnosis is “not that serious,” per his THR interview. Neurologists have warned the singer, however, about the risks involved in performing, including that the lighting and sound can cause stress in the body.

“And [neurologists] said, ‘Well, you really shouldn’t be doing that right now.’ So they have to test me further to see if I can go back and do performing again, which I would like to be able to do,” he said.

Times staff writer Alexandra Del Rosario and former assistant editor Christie D’Zurilla contributed to this report.