In 2015, biomedical entrepreneur Elizabeth Holmes was Silicon Valley's golden girl, lauded as the youngest and richest self-made female billionaire thanks to the company she founded, Theranos, which was valued at $9 billion at the height of its success. Then it all came crashing down when accusations of fraud surfaced about the company's signature blood-testing device, culminating in a sensational trial. Holmes was convicted on four counts and sentenced to 11 years in prison.

Holmes is back in the headlines thanks to a new film, You Can See Everything, which depicts the final days before Holmes, having exhausted her appeals, went to prison. Co-directed by Nathan Fielder and Lance Oppenheim, it's a surreal, absurdist piece that has largely been received with gushing enthusiasm and no small amount of hype, with some declaring it the best film of the year. A few contrarian voices have emerged over the past week with much-needed reality checks, but there's no denying the film is destined to be an awards-season darling.

Pardon me for joining the buzzkills, but I cannot in good conscience jump on the You Can See Everything bandwagon. Sure, it has its moments, and the second half is highly entertaining, but there's nothing here to warrant all the breathless hyperbole. For all their much-touted access, Oppenheim and Fielder have produced a surprisingly shallow film that runs in circles, yielding very little fresh or novel insight—into Holmes, personally, or much else.

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LOS ANGELES—For about five minutes on an extremely crowded showroom floor, I got to take pictures of the new MacBook Pro and test out some of its new features. First impressions: It's not as much of a departure from the previous design as I expected, but the outstanding OLED display steals the show regardless.

The first thing I noticed was that it's lighter. My daily driver is a 14-inch MacBook Pro (M1 Max), and it's a bit weighty for a 14-incher. Picking up the new model, I could immediately tell it was lighter. It's not like it's in a different general weight class, but it's a noticeable difference.

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Peacock series Crystal Lake doesn’t feel like a Friday the 13th movie when you first press play, even though it’s set up to be a prequel to the original film. (This review includes spoilers of the original Friday the 13th movie but avoids major Crystal Lake spoilers.)

Instead, Crystal Lake strives to build a drama that’s half homage, half uncharted territory, while giving a long-awaited backstory to Pamela Voorhees. The original villain in the first film, Pam Voorhees, shocked audiences in 1980 by popping up out of nowhere in the midst of a brutal camp counselor killing spree, then confronting the final girl with a Norman Bates-like delivery of the movie’s chilling tagline, “Kill her, mommy,” using the voice of her drowned son, Jason.

Although the hockey-masked killer, Jason Voorhees, became the horror icon at the center of the franchise, his mom, Pam, continued to fascinate fans, who knew very little about her. Beheaded in the first film after just 13 minutes onscreen, her spirit would occasionally appear in later films, but the original actor, Betsy Palmer, who portrayed Pam refused to return, largely because the character has no depth.

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Carrie White, the telekinetic prom queen from hell, is one of the most beloved horror icons in popular culture. First introduced in Stephen King's 1974 novel, Carrie, the character was immortalized in director Brian De Palma's 1976 adaptation, widely regarded as one of the best horror films of all time. It's certainly one of the best King adaptations. So Mike Flanagan faced a massive challenge when he signed on to create an eight-episode miniseries for Prime Video based on the book, released just in time to mark the 50th anniversary of de Palma's film.

I was among the skeptics who questioned why a Carrie miniseries was even necessary, although as a diehard Flanagan fan ("Flana-fan"?), I was willing to give him the benefit of the doubt. If anyone has an affinity for smartly adapting horror in general, and King's work in particular, it's Flanagan. And you know what? With one (very big) exception, Flanagan pulls it off, giving us a richly textured version of the story that is as much about kindness and lost innocence as bloody, vengeful rage—although we get plenty of the latter, too.

(Many spoilers below for the novel and the 1976 film, but there are no major reveals for the new series until after the second gallery. We'll give you a heads-up when we get there.)

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The trailers for HBO's DC Universe series Lanterns teased a show that eschewed the usual superhero hijinks in favor of a gritty realism more in the vein of True Detective or Slow Horses. Personally, I liked the change. My verdict: Ignore the review bombing; it's wonderful. The season wrapped with an emotionally charged, almost elegiac finale that fully delivered on that initial promise. I've found the rebooted DC Universe films released thus far to be enjoyable but rather forgettable, even when the positives outweigh the negatives. But Lanterns is a shining beacon of what is possible when someone is allowed to get really creative within the genre.

(Spoilers below, but no major reveals.)

There are two primary storylines. The first takes place in 2016 with a mass shooting at a local football game in Rushville, Nebraska. Current Green Lantern Hal Jordan (Kyle Chandler) and his new trainee, John Stewart (Aaron Pierre), get involved in the investigation, to the annoyance of Sheriff Kerry Kane (Kelly Macdonald), who initially doesn't think the case has any extraterrestrial connection. She is soon proved wrong when the suspect (an alien) self-detonates. Hal's power ring controls the damage, but the mystery remains.

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Over the past week, the laptop Microsoft sent me has been summarizing books and movies, generating images from my imagination, and running a 70-billion-parameter AI model that would be a stretch to fit on most laptops. It also played AAA games at a speed and fidelity I would have thought impossible on an ARM system just a year ago. Microsoft wants to sell you one computer for all of your needs, and for once that doesn't feel like total marketing fluff. Mostly.

Microsoft is throwing both arms around the new Nvidia RTX Spark platform with the Surface Laptop Ultra—and setting its sights on the would-be MacBook Pro buyer, or as the company called it, "a high performance audience." The bet is that rather than a gaming desktop for fun and a development laptop for work, buyers will pay more for one machine that does both.

The Surface Laptop Ultra arrives at a strange time in personal computing. Recent industry numbers showed a 20 percent drop in total PC shipments year over year in the third quarter of 2026. That's not just consumer purchasing either—that's across the board. Between the RAMpocalypse that has exploded consumer prices and an industry fixated on enterprise money, there hasn't been much new hardware to excite PC enthusiasts.

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Android was designed for phones, but that hasn't stopped Google from trying to adapt the OS and its apps to larger machines over the years. Googlebooks are just the latest attempt after tablets, Chromebooks, and foldables induced little change in how people interact with Android software. These new Android-powered laptops are designed to pick up where the web-focused ChromeOS left off, offering premium hardware and native support for Android apps.

Google sees Googlebooks as an alternative to Windows and macOS, but these platforms are entrenched with decades of software and UI conventions that keep users locked in. Googlebooks have to offer something very special to steal users away from either of the dominant operating systems.

For devoted Android phone users, there are some cool things in Googlebook OS, but the Android roots of these machines are impossible to miss. Sometimes it feels like using a Chromebook, and sometimes it feels like using a giant phone. It almost never feels like using a premium laptop, and that's the problem.

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