John Oliver has spent years treating Washington scandals, corporate disasters, and television oddities like villains in a particularly deranged superhero universe. His HBO desk is essentially mission control, where bewildering headlines arrive and common sense occasionally escapes through the ventilation system.

Now the comedian has found a fresh target in You Can See Everything, Nathan Fielder and Lance Oppenheim's documentary about Theranos founder Elizabeth Holmes and her partner, Billy Evans.

Their unsettling on-camera exchanges have apparently given the Last Week Tonight team a full-blown obsession. 

On Sunday night's episode of Last Week Tonight, John Oliver delivered a scathing review of You Can See Everything, the Nathan Fielder and Lance Oppenheim documentary about convicted Theranos fraudster Elizabeth Holmes and her partner Billy Evans.

"I haven't seen someone dodge a question that shamelessly since I spent three hours gasping aloud at two complete lunatics who've never blinked once in their lives," Oliver said. 

Oliver also revealed that the Last Week Tonight staff had become so obsessed with the documentary that it was derailing their workflow to an unacceptable degree, joking that anyone wanting to discuss the film should contact anyone who works there.

The comment suggests the doc's bizarre portrayal of Holmes and Evans struck a nerve with the show's writers, who apparently couldn't stop talking about it. The roast fits Oliver's pattern of using pop culture moments to sharpen political points, tying the documentary's subjects to the broader theme of shamelessness and evasion he was critiquing in the midterm coverage.

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But what exactly happens across those three hours to leave a professional joke factory this gloriously distracted?

You Can See Everything opens like a psychological thriller: What happens when a convicted fraudster invites cameras into her home? Nathan Fielder accepted that invitation 34 days before Elizabeth Holmes reported to federal prison in May 2023. The former Theranos chief had received a sentence of more than 11 years for fraud.

The first half follows conversations, domestic routines, and increasingly bizarre efforts to establish sincerity. Billy Evans eventually acknowledges posting from Holmes' verified X account on her behalf. Then the movie leaps forward two years.

With Holmes incarcerated, Fielder turns to experimental filmmaking techniques that question who controls a story when its central subject cannot appear before the cameras. A24 released the nearly three-hour film theatrically on October 16, following its surprise September debut at Telluride. 

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Did Oliver's roast capture the documentary's peculiar energy, or did Holmes and Evans leave you with a different impression? Let us know in the comments.