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MLS Cup Playoffs schedule on Apple TV: wild cards November 18, final December 18

The Audi 2026 MLS Cup Playoffs begin on November 18 with the wild card matches, and every postseason game streams on Apple TV, Major League Soccer said in its schedule announcement. Apple TV subscribers get the playoffs as part of their subscription, which Apple listed at $12.99 per month in February, and 2026 MLS Cup […]

The post MLS Cup Playoffs schedule on Apple TV: wild cards November 18, final December 18 appeared first on The Mac Observer.

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How to watch the US Grand Prix on Apple TV: race starts 4pm ET on October 25

The 2026 United States Grand Prix at the Circuit of The Americas in Austin streams exclusively on Apple TV in the US, with the race starting at 4pm ET (1pm PT) on October 25. Apple holds the US rights to every F1 session this season, including all practice, qualifying, Sprint sessions and Grands Prix, under […]

The post How to watch the US Grand Prix on Apple TV: race starts 4pm ET on October 25 appeared first on The Mac Observer.

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‘I’m always being real’: what on earth persuades disgraced people like Elizabeth Holmes to let the cameras in?

With You Can See Everything, Holmes joins other such high-profile subjects as Lance Armstrong, Imelda Marcos and Anthony Weiner to allow film-makers to document their lives. But do they ever come out well?

In You Can See Everything, convicted fraudster Elizabeth Holmes invites film-makers Nathan Fielder and Lance Oppenheim into her home in a supposed act of “radical transparency”. Holmes is filmed, along with her partner, Billy Evans, and their two young children, in the weeks before starting a prison sentence for defrauding Theranos investors. “The best way for people to see who she is,” Evans says, “is to give as much access as possible into our daily lives”. It may also be the best way to market “Theranos 2.0”, which the couple are working on during filming. But the documentary questions whether Holmes is presenting her authentic self or a manufactured persona. Fielder speaks for the audience when he asks Holmes in a tense exchange whether she’s “being real” with him. “I’m always being real,” she says.

That question of authenticity is at the heart of documentary film-making. You Can See Everything is as much about the ambiguous relationship between film-maker and subject as it is about Holmes herself. There is often a power struggle over narrative control in documentaries, with both sides of the dynamic wanting different outcomes from the final film. Watching You Can See Everything inevitably prompts the question: why would Holmes, days before she heads to jail, invite the scrutiny of a film crew?

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© Photograph: Courtesy of A24

© Photograph: Courtesy of A24

© Photograph: Courtesy of A24

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