The paying audience is the surprise in the Elizabeth Holmes documentary story. People learned this Nathan Fielder co-directed film existed less than two months ago. Then they bought tickets. Hollywood spends fortunes making a release unavoidable; this one apparently benefited from allowing people to discover something.

You Can See Everything opened to $15 million, according to Deadline, with sellout screenings reported by The Hollywood Reporter. For an industry that markets films until watching them feels like clearing an overdue notification, that is a useful embarrassment.

But discovery is an opening-weekend pleasure. The next ticket buyer gets a film whose existence is already public knowledge, and friends who can say whether it deserves an evening. A24 has sold the surprise. Those audiences now supply the recommendation.

The secret is out of work.